Plate  I,  a. 


Plate  I,  b. 


Digitized  by  the  Internet  Archive 
in  2007 


http://archive.org/details/antiquegreekdancOOemmarich 


The 

.Antique 

Greek  Dance 

after  sculptured  and  painted  figures 

€(TtI  5^  /cat  TO.  tQv  dpxo-if^v 
drjfjLiovpyCbv  aydX/xara  rrjs 
TTttXaias  d/3XT7(rec(>s  Xeitpapa. 

Athenee,  629,  b. 

BY 

Maurice  Emmanuel 

Docteur  es  Lettres 
et  Laurdat  du  Conservatoire 


TRANSLATED 

BY 

Harriet  Jean  Beauley 


WITH     DRAWINGS 


A.    COLLOMBAR   AND    THE   AUTHOR 


NEW  YORK:  JOHN  LANE  COMPANY 

LONDON:  JOHN  LANE,  THE  BODLEV  HEAD 

M  CM  XVI 


G^ 


Copyright,  1916, 
By  Habbiet  Jean  Beauley 


Press  of 

J.  J.  Little  &  Ives  Company 

New  York,  U.  S  A. 


TO 

M.  Marmontel 

of  the  Conservatoire 
and 

M.  Th.  Dubois 

Member  of  the  Institute 


In  affectionate  homage 
M.  E. 


FOREWORD 

Without  the  assistance  of  Dr.  Marey,  member  of  the  Institute, 
and  of  M.  Hansen,  Master  of  the  Ballet  of  the  Opera,  I  should  have 
lacked  much  of  the  material  for  this  work.  M.  Hansen,  who  unites 
great  learning  with  a  charming  personality,  consented  to  give  me 
his  opinion  of  each  of  the  representations  of  movements  shown  on 
the  vases  and  bas-reliefs  which  I  have  used ;  he  even  went  further, — 
he  gave  me  the  benefit  of  his  experience  in  the  analysis  of  these 
movements  by  photography.  To  Dr.  Marey  I  am  indebted  for  help 
in  my  arrangement  of  the  series  of  figures  which  form  the  basis  of 
this  work.     I  beg  them  to  accept  my  profound  thanks. 

With  my  whole  heart  I  thank  M.  Croiset,  member  of  the  Insti- 
tute, whose  advice  was  most  valuable;  M.  Collignon,  member  of  the 
Institute,  who  permitted  me  to  ask  his  assistance  in  classifying  the 
paintings  and  sculptures ;  M.  Pottier,  of  the  Louvre  Museum,  who 
not  only  opened  the  glass  cases  there,  but  who  gave  me  the  benefit 
of  his  erudition;  M.  Miintz,  member  of  the  Institute,  archivist  of 
the  School  of  the  Beaux-Arts;  M.  de  Chantepie,  administrator  of 
the  Library  of  the  Sorbonne,  and  his  collaborators,  MM.  Chatelain, 
Lehot,  Mortet,  who,  in  their  great  kindness,  made  themselves  as  the 
instruments  of  toil  in  my  hands ;  M.  Nuitter,  archivist  of  the  Opera, 
who  put  me  in  communication  with  many  interesting  manuscripts ; 
M.  Babelon,  curator  of  the  Cabinet  of  Medals,  through  whom  I  am 
enabled  to  publish  some  hitherto  unpublished  types  of  antique 
dancers. 

I  express  my  gratitude  to  M.  Havet,  member  of  the  Institute, 
who  made  me  welcome  at  all  times  when  I  was  in  need  of  his  advice. 

I  would  testify  to  the  inspiration  which  I  received  from  M. 
Bourgault-Ducoudray's  lessons  on  the  history  of  music. 


X 


TRANSLATOR'S  FOREWORD 

The  Antique  Greek  Dance  was  written  hy  one  who  loved  both 
Greek  art  and  the  dance  with  a  deep  and  understanding  love, — 
Maurice  Emmanuely  of  the  Paris  Conservatoire, 

The  result  of  his  study  was  this  hook,  published  some  years  ago. 
The  edition  was  soon  exhausted,  and,  in  order  to  obtain  a  copy  of 
this  authoritative  work  the  translator  was  obliged  to  search  the  old 
book  shops  of  Paris. 

Believing  that  the  world-wide  reawakened  interest  in  all  phases  of 
the  dance  makes  imperative  the  publication  of  this  remarkable  book 
in  a  form  and  a  language  that  will  make  it  available  to  students  and 
artists,  it  has  been  translated. 

In  France  the  copies  were  eagerly  bought  and  treasured  by 
artists,  dancers,  and  teachers  of  dancing.  Painters,  sculptors  and 
actors  were  also  quick  to  see  its  worth,  as  all  of  the  expressional 
arts  have  a  common  foundation.  One  who  has  felt  in  his  own  awak- 
ened mind  and  body  the  harmony  that  comes  with  freedom  from  con- 
straint, through  training  in  rhythm  and  expression  gained  from  the 
natural  dance,  is  better  equipped  to  show  forth  the  same  quality 
in  his  work,  whether  his  medium  be  brush,  violin  or  voice. 

EmmanueV s  theory  is  that,  while  the  anatomy  of  the  body  remains 
the  same,  the  method  of  movements  cannot  alter,  so  that,  funda- 
mentally, thejnodern  dance  must  obey  the  same  laws  as  the  antique., 
dance. 

Long  and  patient  study  of  thousands  of  figures  of  Greek  painting 
and  sculpture  enabled  him  to  so  far  reconstruct  the  ancient  dance 
that  he  could  compare  it  with  the  modern  ballet  and  follow  the  like- 
nesses and  differences  between  them. 

The  special  qualities  of  the  modern  French  dance  are  precision 
and  rhythm,  with  the  mimetic  almost  entirely  absent. 
t ,    The  special  qualities  of  the  Greek  dance  are  a  very  keen  sense  of 
^  ix 


X  TRANSLATOR  S    FOREWORD 

mimetic  value,  joined  to  perfect  rhythm,  hut  somewhat  lacking  in 
precision. 

The  author  has  compared  these,  holding  in  his  mind  a  picture  of 
the  ideal  dance  which  should  have  all  the  excellences  of  each,  without 
any  of  the  defects. 

He  has  taken  up  the  positions  of  the  legs  and  their  movements;- 
the  positions  and  movements  of  the  arms;  and  those  of  the  head  and 
torso,  as  used  in  the  modern  classic  dance  and  depicted  upon  ancient 
vases,  high  and  low  reliefs,  and  upon  the  frescoes  of  Pompeii.  He  has 
searched  Greek  poetry  for  that  quality  common  to  all  of  the  musical 
arts, — the  quality  of  rhythm.  From  the  poetic  rhythms  he  has 
reconstructed  the  music-rhythm,  and  from  both,  the  dance-rhythm. 
He  found  that  Greek  poetry,  correctly  enunciated,  indicated  the 
music  to  which  it  was  originally  declaimed,  thus  giving  the  clue  to 
the  dance-rhythm,  making  due  allowance  for  the  fact  that  the  poetry 
of  the  dance  is  not  as  closely  hound  hy  the  formal  rules  as  the  more 
stately  measures.  He  found  that  comment  on  the  subject  by 
Greek  authors,  far  from  contradicting  his  conclusions,  confirmed 
them  in  most  details.  But,  in  the  end,  the  painted  and  sculptured 
figures  furnished  most  of  the  information  he  sought;  the  rhythms  of 
the  poets  and  the  descriptions  hy  various  Greek  writers  giving  only 
the  footnotes  for  the  true  documents. 

Like  all  investigators,  he  followed  many  paths  that  led  nowhere 
before  discovering  the  authentic  source  of  information.  Patiently 
he  searched  the  writings  of  many  authors  of  the  post-classic  period, 
but  found  them  undependable,  not  only  because  of  their  ignorance 
of  the  subject,  but  because  they  did  not  even  write  with  an  under-* 
standing  of  their  own  language.  Baffled  there,  he  searched  the  Greek 
plays,  from  those  of  Aristophanes  to  those  of  Sophocles,  to  discover 
what  the  characters  might  say  regarding  the  art.  The  reader  may 
gain  some  idea  of  the  amount  of  labor  required  for  this  research  by 
remembering  that  he  was  working  in  a  foreign  language  and  one  no 
longer  spoken.  He  modestly  remarks  that  ^'the  information  so 
gained  has  a  certain  value.'^  Eventually,  he  concluded  that  most  of 
the  knowledge  must  be  acquired  from  the  sculptured  and  painted 
figures.  Of  these  he  examined  thousands,  and,  with  the  help  of  the 
most  famous  archceolo gists  in  France,  who  were  eager  to  assist  him. 


XI 


he  classified  them  in  chronological  order,  beginning  with  those  of  the 
fifteenth  century  B.  C.  Next,  he  separated  the  different  kinds  of 
dances  belonging  to  each  period;  theji  he  followed  the  changes  and 
modifications  of -each  dance  from  one  period  to  another.  Lastly,  he 
critically  compares  the  reconstructed  Greek  dance  with  the  modern 
ballet.  From  all  of  the  representations  he  selected  about  five-hun- 
dred-and-seventy-five  to  illustrate  his  book.  He  begins  with  the 
vases  of  Mycen<Ean  style,  which  Perrot  prefers  to  call  ^^ Vases  in  the 
Mgean  style'"'  because  they  are  found  throughout  the  Mgean  basin. 
These  date  back  to  the  fifteenth  century  B.  C.  In  them,  the  artists 
confined  their  designs  to  shells  and  flowers,  not  yet  daring  to  attempt 
to  depict  the  human  figure.  They  are  to  be  noted  as  the  preci^rsors 
of  the  geometric  style  of  the  vases  of  Dipylon„in  which  the  form  and 
decoration  is  of  geometrical  character,  in  straight  lines.  The  human 
figures,  here  introduced  for  the  first  time,  would  seem  to  partake, 
in  a  slight  degree,  of  the  curved  lines  of  the  earlier  period.  These 
first  representations  of  dancing  figures  are  very  important.  There 
are  dances  by  warriors,  funeral  dances,  and  dances  by  the  citizens. 

In  the  seventh  century  B.  C,  the  style  be^mes  Orientalized.  At 
this  period  the  first  incised  decoration  is  noted,  the  vase  being  first 
painted  all  over  in  the  same  color,  the  design  being  then  cut  through 
to  the  natural  color  of  the  clay. 

The  figures  have,  by  this  time,  become  more  flexible;  the  geometric 
stiffness  begins  to  disappear. 

In  the  sixth  century  B.  C.  the  artists  chose  a  very  red  clay,  paint- 
ing the  figure  in  black,  touched  up  with  white.  These  paintings 
represent  the  funeral  dances,  the  Pyrrhics,  and  the  merry  dances 
of  Komas.  But  new  ones  are  introduced, — dances  in  honor  of  the 
gods  and  those  in  which  the  gods  take  part;  also,  the  dance-garnes 
of  leaping,  running,  throwing  the  discus,  etc.  It  must  be  borne  in 
mind  that  all  of  these  exercises  were  done  to  a  musical  accompani- 
ment, and  are,  therefore,  to  be  considered  dances  in  the  Greek  mean- 
ing of  the  word.  The  freer  movements  of  the  dancers  may  beaifsome 
relation  to  the  change  in  the  manner  of  decorating  the  vases;  the 
ceramists  painted  the  background  black,  leaving  the  figure  in  the 
natural  red  clay. 

But  not  until  the  fourth  century  B.  C.  did  the  painters  attain  that 


Xll 


perfection  of  detail  which  is  scientifically  correct  and  at  the  same 
time  a  source  of  illumination.  The  movements  become  more  com- 
plicated and  varied;  the  dances  more  fantastic.  This  period  marks 
the  high  tide,  as  far  as  representations  of  the  dance  are  concerned. 

In  the  third  century  B.  C.  the  designs  are  stiff,  clumsy,  and  over- 
ornamented;  at  this  time  the  Bacchanalian  scenes  are  favored;  the 
dances  become  freer  but  less  rhythmic. 

The  funeral  vases  of  the  fifth  and  fourth  centuries  B.  C.  are  the 
most  beautiful  of  all;  the  profile  figures  are  simple  and  perfect  in 
drawing. 

Greek  sculpture  developed  more  slowly  than  painting,  though  in 
the  seventh  century  B.  C.  the  reliefs  give  more  information  regard- 
ing the  dance  than  do  the  paintings,  but  they  are  very  rigid. 

The  golden  age  of  Greek  sculpture,  the  fifth  century  B.  C,  is  the 
richest  of  all  in  really  scientific  representations  of  the  dance,  the 
figures  attaining  a  splendid  freedom  of  movement.  From  that  time 
forward,  art  becomes  more  sensuous,  though  it  is  still  far  from  the 
decadent  Grceco-Roman  period. 

The  succeeding  century  saw  the  creation  of  the  marvelous  little 
dancing  figures  of  Tanagra.  These  lithe  dancers  have  little  m« 
common  with  the  stately  figures  of  Phidias.  The  workers  in  clay 
filed  their  figures  with  a  spirit  of  gayety  and  charm. 

There  are  few  dancers  to  be  found  among  the  more  pretentious, 
works  of  the  second  century  B.  C,  but  the  great  sculptures  of  that 
period  show  a  complex  rhythm  which  should  be  carefully  studied. 
There  are  a  multitude  of  little  clay  figures  of  dancers.  This  is  the 
period  when  great  prominence  is  given  to  the  worship  of  Dionysos 
and  Aphrodite. 

The  first  century  B.  C.  sees  a  return  to  the  archaic  forms  which 
is  artificial  and  deliberate.  With  these  figures,  Greek  art  may  be 
said  to  end. 

Maurice  Emmanuel's  task  was  not  ended  when  he  had  examined  all 
these  things  in  many  museums;  there  is  a  wide  margin  for  specula- 
tion afforded  by  the  fact  that  many  of  the  ancient  pieces  are  in  very 
imperfect  condition.  Deterioration  due  to  atmospheric  conditions, 
wanton  destruction,  and,  what  the  author  considers  worst  of  all. 


XIU 


ignorant  **restorations,''  were  some  of  the  problems  that  confronted 
him. 

The  technique  of  the  Greek  dance  is  proved  to  he  very  simple,  as 
was  necessary  in  an  art  in  which  every  one  participated,  hut,  in 
order  to  understand  the  movements,  it  is  necessary  to  take  into 
account  the  limitations  imposed  upon  decorators  of  vases  and  kindred 
ornamental  work.  It  is  often  the  case  that  they  must  depart  from 
facts  in  order  to  make  the  figures  conform  to  a  design,  the  para- 
mount thing  heing  the  pattern,  rather  than  a  record  of  the  dance 
as  it  actually  is.  Thus  equilihrium  is  often  sacrificed;  perspective 
destroyed.  In  many  cases  the  figures  are  placed  on  the  same  plane, 
though  their  positions  would  indicate  the  contrary.  Often  there  are 
two  rows  of  them,  with  no  floor  indicated,  so  that  those  in  the  upper 
row  appear  to  he  leapi7ig  to  an  unheard-of  height.  All  these  con- 
ventions made  the  interpreter's  work  more  difficult.  The  torso  is 
often  represented  in  face,  with  the  legs  profile.  This,  however,  is 
not  an  indication  of  the  artist's  ignorance;  the  convention  is  inten- 
tional and  has  a  meaning.  During  a  long  period  the  figures  all 
advance  on  the  left  leg.  Later,  this  convention  disappears;  the 
archaic  has-reliefs  escape  it  altogether  hy  taking  refuge  in  another, 
viz.,  the  leg  carried  forward  is  the  left  when  the  marcher  is  turned 
to  the  right  of  the  spectator,  and  the  right  when  he  is  turned  to  the 
left  of  the  spectator,  thus  keeping  hoth  legs  in  view.  This  con- 
vention persists  in  the  works  of  Phidias  and  his  contemporaries. 

Notwithstanding  these  set  forms,  the  Greek  artists  were  ahle  to 
fix  the  fleeting  ^'momenf  of  a  movement,  and  they  observed  much 
more  accurately  than  we  do,  as  may  he  proved  hy  contrasting  our 
impression  of  the  same  ^'moment*'  with  the  result  of  an  instantaneous 
photograph,  and  noting  the  perfect  correspondence  of  the  photo- 
graph with  the  Greek  conception.  This  keen  vision  of  the  ceramists 
and  sculptors  enables  us  to  get  a  very  clear  idea  of  the  Greek  dance, 
though  the  author  sometimes  selects  examples  less  good  from  an 
artistic  standpoint  as  being  the  best  of  all  when  considered  as  relat- 
ing to  the  dance. 

The  first  part  of  the  study  will  he  given  to  the  gymnastics  of  the 
dance,  as  far  as  the  pictures  allow  them  to  he  discovered.  That  is, 
to  arrive  at  an  understanding  of  the  result  by  examining  the  proC' 


XIV 


esses  leading  to  it.  The  pupil  must  not  fall  into  the  error  of  regard- 
ing this  preparatory  work  as  an  end  in  itself.  Moderns  have  sepa- 
rated the  arts  of  dancing  and  acting;  with  the  Greeks  it  was  not  so; 
dancing  was  pantomime  as  well  as  rhythmic  movement,  and  the  only 
way  to  get  the  spirit  of  the  Greek  dance  is  to  take  this  attitude 
toward  it. 

But  it  is  first  necessary  to  consider  the  gymnastics  of  the  art;  the 
sculptors  studied  the  poses  of  the  dancers,  and  the  dancers,  in  turn, 
copied  the  poses  of  the  statues.  It  is  not  always  easy  to  separate 
the  mimetic  from  the  purely  dancing  movements  in  these  representa- 
tions, as  at  first  glance  they  appear  very  much  alike. 

Greek  art  is,  like  all  things  that  progress,  subject  to  change,  but 
the  fundamentals  remain  the  same.  The  changes  are  less  notable 
n  in  the  pictures  of  religious  dances,  because  the  ritual  was  a  very 
definite  thing  and  prescribed  certain  poses  and  gestures  from  which 
there  could  be  no  deflection.  Outside  the  limits  of  religious  formal- 
ism the  changes  are  greater, — the  Greeks  were  not  without  a  very 
modern  love  of  novelty. 

All  of  the  gestures  originally  had  a  concrete  significance,  becom- 
ing symbolic  with  the  passing  of  time.  Few  of  the  more  ancient 
ones  were  discarded,  but  new  ones  were  added.  They  may  be  divided 
into  three  groups: 

Gestures  of  ritualism  and  symbolism. 
Gestures  of  every-day  life, 
^^^•^^estures  of  concrete  type  becoming  decorative  motifs. 

The  mimetic  funeral,  for  instance,  is  an  example  of  a  decorative 
^movement  evolving  from  a  concrete  gesture.     In  most  remote  times 
I  the  hired  mourners  scratched  their  faces  and  tore  their  hair  as  an 
;  extravagant   demonstration  of  griefs     These   practices   were   for- 
bidden by  Solon,  and,  from  his  time,  became  merely  symbolic  gestures, 
the  mourners  placing  the  hands  over  the  face  or  on  the  head. 

The  gesture  of  the  veil  is  so  beautiful  that  it  has  never  fallen  into 
disuse,  dancers  vn  all  times  recognizing  its  decorative  value,  even 
after  the  meaning  has  been  lost.  In  the  decadent  period  of  Greek  art 
the  veil  gestures  were  used  as  they  have  been  by  certain  modern 
dancers,  more  to  emphasize  nudity  than  to  conceal  it,  thus  perverting 
the  original  expression,  which  was  one  of  modesty. 


TRANSLATORS    FOREWORD 


9 


The  gymTiastics  of  the  Greek  dance  were  founded  on  natural,  in- 
stinctive movements,  like  the  walk,  the  run,  and  the  leap,  movements   w 
upon  which  was  built  the  superstructure  of  the  dance.     By  placing 
a  thought  hack  of  the  instinctive  movement,  it  becomes  a  gesture,  an 
expression.     The  dance  thus  becomes  more  than  a  mechanical  exer-    \ 
cise,  it  is  an  expressional  movement  to  an  accompaniment  of  song  and 
instrumental  music.     The  primitive  dances  of  all  peoples  are  expres- 
sive; the  separation  between  gymnastics  and  acting  comes  only  with 
a  more  complex  civilization.     This  separation,  so  marked  in  our 
time,  was  unknown  to  the  Greeks,  yet  the  author  has  been  able  to 
trace  in  the  statues  and  paintings  the  same  steps  used  to-day.    Some 
of  the  dances  are  made  up  of  walking  and  running  steps  set   to 
music,  with  the  head,  torso  and  arms  in  repose.     The  Greeks  used     \ 
the  natural  oppositions  of  members  in  the  same  way  that  was  taught 
by  the  great  Noverre  in  the  eighteenth  century.     This  element  may 
have  been  prominent  in  Greek  dancing  long  before  the  artists  acquired 
sufficient  skill  to  depict  it  and  also  before  they  were  emancipated 
from  the  old  conventions,  but  it  fijids  its  highest  expression  in  the 
Parthenon  frieze,  where  the  whole  aspect  of  the  marchers  shows  that — ' 
they  are  talcing  part  in  a  solemn  religious  ceremony,  yet  the  lightness 
of  their  movements  shows  that  they  are  at  the  same  time  taking  part 
in  a  dance.    The  variety  of  pose,  the  rhythmic  opposition  of  arm  and 
leg,  head  and  torso,  is  limited  only  by  the  conditions  imposed  by  the 
set  forms  of  representation  of  a  religious  ceremony.     Even  in  the 
case  of  these  stately  dancers,  the  spectator  is  impressed  instantly 
with  the  fact  that  the  Greeks  did  not  dance  with  the  feet  and  legs 
(done,  but  with  the  whole  body.     When^helidrso,  head,  arms  and   \ 
hands  were  eliminated  as  dancing  members,  the  dance  lost  all  of  its 
expressional  value  and  became  artificial.     This  has  been  carried  to  ( 
the  farthest  limit  in  the  modern  ballet,  which,  retaining  the  steps^     t 
of  the  Greeks,  has  lost  everything  else.  ^^ 

No  modern  steps  are  here  considered  except  those  which  were  also 
used  in  ancient  Greece.  The  technical  expressions  have  been  re- 
tained, but  are  so  carefully  explained  that  they  are  clear  to  the  non- 
professional reader. 

First  are  considered  positions  and  movements  of  the  modern 
dance,  which  must  serve  as  the  standard  of  comparison  in  order  to 


XVI 


maTce  the  work  intelligible.  The  Five  Fundamental  Positions  of  the 
legs  are  taken  up;  these  are  all  on  the  soles  of  the  feet.  From  them 
are  derived  the  principal  Positions  of  the  II  and  IV.  Reference 
is  made  to  paintings  and  reliefs  to  show  that  the  Greeks  used  these 
Positions,  a  point  necessary  to  establish^  since  movements  must 
begin  and  end  with  Positions  and  are  determined  by  Positions.  Often 
the  successive  "moments^'  of  a  step  are  represented  by  paintings 
and  reliefs  widely  separated  geographically,  but  which,  unmistak- 
ably, form  a  true  series  when  placed  in  proper  order.  In  this  way 
it  is  proved  that  the  Greeks  used  the  Pirouette,  the  Entrechat,  and 
many  other  steps  that  are  an  integral  part  of  the  modern  French 
ballet. 

So  much  for  the  likenesses  between  the  two  kinds  of  dance. 

The  differences  become  more  apparent  when  the  movements  of  the 
head,  arms  and  torso  are  considered.  In  the  modern  ballet  the  arms 
may  fall  motionless  at  the  sides,  may  be  raised  over  the  head  in  cer- 
tain positions  that  are  carefully  calculated  so  that  they  may  not 
affect  the  stability  of  the  foot-position,  causing  the  dancer  to  lose 
balance,  the  hands  may  pick  up  the  flower-like  full  skirt; — this  is 
about  all  the  arms  are  allowed  to  do,  and  even  this  must  follow  hard- 
and-fast  rules.  The  movements  of  the  head  are  even  more  restricted; 
the  torso  almost  ceases  to  live.  The  body  above  the  hips  becomes 
merely  a  decorative  adjunct  to  the  dance.  All  this  may  show  forth 
:  the  dancer's  agility  and  skill,  but,  at  best,  such  a  dance  is  nothing 
more  than  a  beautiful  gymnastic  of  the  acrobatic  order. 

The  Greek  dancer,  on  the  contrary,  having  du^  regard  for 
mimetic  values,  employs  movements  of  the  torso,  head  and  arms  as 
a  part  of  the  dance,  vivifying  it  and  raising  it  out  of  the  class  of 
^       gymnastic  exercises. 

The  Greek  dancers  did  not,  like  ours,  regard  curving  movements 
of  the  arms  as  the  only  kind  permissible;  they  did  not  hesitate  to 
x^  speak  in  abrupt  angles  if  the  exigencies  of  the  dance-drama  demanded 
it,  though  the  more  stately  dances  always  show  tlie  elegant  curved 
positions.  The  hands  might  be  hidden  in  the  cloak,  but  the  pose 
of  the  arm  carried  expression.  The  hand  continued  the  expression 
of  the  arm,  completing  the  gesture.  The  hand  gesture  of  the 
Bacchantes  is  characteristic, — the  hand  held  back,  wrist  turned  so 


XVll 


that  the  palm  is  seen^  thumb  held  high.  This  pose  is  confined  to  the 
comic  phases  of  Bacchanalian  dances,  like  those  of  the  Komastia, 
as  is  the  step  in  which  the  foot  is  lifted  so  that  the  whole  sole  is 
seen.  The  play  of  the  hands  is  second  in  importance  to  the  foot- 
movements. 

I  In  the  modern  dance  there  are  few  positions  of  the  hand  taught, 
and  these  have  no  dramatic  value,  the  hand  being  regarded  as  simply 
a  finish  for  the  arm. 

When  the  Greek  dancer's  arm  becomes  passive,  it  takes  much  the 
same  position  as  the  one  habitual  with  ballet  dancers, — arm  hanging, 
fingers  separated,  the  middle  finger  opposed  to  the  thumb. 

The  ballet  recognizes  five  Positions  of  the  torso,  between  which 
there  are  two  that  may  be  taken  with  the  body  bent  toward  either 
side.  Body  positions  being  limited  by  the  anatomy,  are  much  alike 
among  dancers  of  all  time.  The  predominxint  poses  in  the  Greek 
dance  is  the  forward  or  backward  bending  of  the  torso.  Neither 
pose  is  exaggerated  in  the  noble  dances,  but  is  characteristic  of  the 
dances  of  the  Bacchantes.  In  the  orgiastic  dances  all  movements  are 
exaggerated,  as  is  natural  when  it  is  remembered  that  the  dancers 
are  in  a  state  of  frenzy  akin  to  insanity.  It  has  been  suggested,  and 
the  idea  is  plausible,  that  there  was  a  pathological  reason  for  the 
Bacchic  frenzy  that  sent  devotees  dancing  over  the  mountains  on  cold 
winter  nights,  screaming  an  accompaniment  to  their  wild  steps.  Lit- 
tle wonder  that  the  body  bent  far  forward  or  far  backward  became 
a  symbolic  movement  in  the  Dionysian  celebrations,  where  wine  and 
flowers,  torches  and  song,  had  their  part  in  the  worship. 

The  head  is  nearly  motionless  in  most  ballet  work;  with  the  Greeks 
it  was,  expressionally,  as  important  as  the  torso.  In  the  Dionysian 
dances  it  followed  the  direction  of  the  bending  body.  In  other 
dances  it  moves  in  opposition  to  the  torso. 

The  different  members,  having  been  considered  separately,  must 
next  be  studied  in  the  infinite  combinations  of  which  they  are  capable. 
More  than  95,000  such  combinations  have  been  proved  possible,  but 
in  actual  practice  many  of  them  would  be  ugly,  expressionless,  and 
useless. 

Opposition  between  the  different  parts  of  the  body  is  defined  by 
Emmanuel  as  a  constant  readjustment  of  weight  among  the  members 


XVIU 


to  maintain  perfect  equilibrium,  and  was  so  used  by  Noverre.  It  is 
nature^s  means  of  keeping  the  body  balanced.  This  law  of  Opposi- 
tion, as  used  in  the  dance,  lifts  a  natural,  instinctive  act  up  into 
the  domain  of  esthetics. 

As  to  the  ways  in  which  the  members  may  be  combined,  no  booh 
can  answer  the  question:  ^' Which  are  good  combinations  and  which 
are  not?**  Only  the  education  of  the  members  themselxws  can  give 
the  dancer  the  power  to  decide  unerringly.  This  is  better  than  a 
set  of  rules  on  the  subject,  because  hard-and-fast  rules  destroy 
spontaneity.  A  few  of  the  combinations  most  used  are  taught,  and 
from  these  others  may  be  derived,  according  to  the  dancer^s  skill 
and  inventiveness.  Among  the  ones  most  in  vogue  are  the  Arabesque 
and  the  Attitude,  two  complicated  poses  minutely  described  in  this 
book,  both  suggesting  lightness  to  such  an  extent  that  the  dancer 
scarcely  appears  to  rest  on  the  earth.  The  Tanagra  figurines  pos- 
sess the  same  quality.  Both  the  ancient  and  modern  dancers  attain 
this  expression  by  observing  the  laws  of  Opposition.  This  law  is 
often  disregarded  by  the  Greeks,  but  there  is  a  very  definite  reason 
for  it; — when  they  wanted  to  suggest  the  instability  of  a  drunken 
Satyr,  they  knew  no  better  way  to  do  it  than  by  parallelism  of  move- 
ment, advancing  the  right  arm  and  leg  at  the  same  time,  and  letting 
the  head  follow  the  same  direction  as  the  torso.  In  all  serious  work 
the  law  of  Opposition  is  observed.  Noverre  and  Blasis  did  not 
copy  antique  vases,  but  they  were  scientific  artists,  who  knew  that 
the  opposition  of  members  resulted  in  stability  as  well  as  grace,  and, 
avoiding  an  uneasy  appearance,  was  pleasing  to  the  eye. 

Having  treated  the  members  separately  and  as  a  whole,  the  body 
has,  up  to  this  time,  been  considered  as  though  in  a  series  of  poses. 
Motion  has  not  been  considered. 

But,  with  the  body  in  a  given  position,  it  can  move  only  from 
that  position,  taking  its  initial  movement  from  the  point  at  which 
each  member  is  placed.  It  follows  that,  having  studied  the  poses 
of  the  antique  statues,  in  their  relation  to  modern  dances,  the  move- 
ment can  be  predicated  from  the  position.  In  this  way  the  whole 
dance  can  be  reconstructed. 

At  this  point  the  gymnastics  of  the  dance  are  taken  up,  to  render 
the  body  supple.    Few  American  students  will  envy  the  little  ballet 


XIX 


students  of  Paris  the  tedious  and  often  painful  hours  of  practice 
which  fits  them  for  the  stage.  Most  will  sigh  with  relief  at  the 
knowledge  that  the  Greek  system  depended  more  upon  all-around 
training  of  the  body  that  fitted  it  to  become  an  agent  of  expression 
rather  than  to  exploit  it  in  unusual  kinds  of  motion.  The  result 
may  have  been^  and  doubtless  was,  less  precision  than  ours;  but,  in 
the  modern  classic  dance,  too  much  that  is  valuable  has  been  sacri- 
ficed to  precision. 

Many  of  the  exercises  used  by  us  were,  ivithout  doubt,  used  by 
the  Greeks,  such  as  Bending,  Separating,  Striking,  Circles  of  the 
Legs.  These  movements  are  all  natural  ones.  These  lead  to  com- 
plicated ones  beginning  or  ending  with  such  poses  as  the  Attitude 
and  the  Arabesque,  which  were  in  use  in  ancient  Greece,  showing  that 
they  had  a  system  of  training  that  was  fundamentally  the  same  as 
ours. 

A  great  part  of  the  book  will  be  found  to  treat  of  the  modern 
ballet  steps  and  tempos,  giving  minute  descriptions  of  them,  and 
from  them  reconstructing  the  Greek  steps.     Often  the  sculptures~  \ 
represent  a  step  at  its  characteristic  moment,  a  moment  so  individual     I 
that  it  could  belong  to  no  other  step;  therefore,  if  the  same  moment     ! 
is  to  be  foiind  in  a  m^odern  movement,  the  inference  is  plain.  — ^ 

Thus  it  is  demonstrated  that  they  employed  turning  movements 
of  which  the  most  conspicuous  example  is  the  Pirouette.  The  whirl- 
ing draperies  shown  in  the  paintings  prove  the  rapidity  of  motion. 
The  *'turn  by  stamping^'  was  a  graceful  movement  not  used  now. 
The  Greek  figures  even  show,  l)y  the  skill  exhibited  in  the  Pirouette 
and  the  turn  by  stamping,  whether  the  dancer  was  a  highly  trained 
professional  or  an  amateur. 

Investigators  less  scientific  than  Emmanuel  have  made  one  great 
mistake  in  translating  these  antique  figures  into  modern  dances,  or 
rather  into  imitations  of  Greek  dances;  they  have  ignored,  or  been 
ignorant  of  the  fact  that  the  early  artists  Wfre  unable  to  suggest  a 
figure  in  the  act  of  leaping,  and  so  contented  themselves  with  a  repre- 
sentation of  the  moment  preceding  or  followiiig  the  leap,  when  the 
knees  were  still  bent.  These  imitators  of  the  Greek  dance  have 
evolved  what  might  be  called  the  cult  of  the  bent  knee,  not  realizing 
that  it  is,  expressionally,   the  pose  of  bodily  instability  or  mental 


indecision,  where  the  pose  is  at  all  prolonged.  Later,  when  the  artists 
hecame  more  sure  of  their  technique,  this  symbol  of  the  leap  was 
discarded,  and  the  actual  moment  in  the  air  was  represented. 

When  a  movement  presents  no  characteristic  moment  the  tempo 
or  step  is  not  so  easy  to  reconstruct.  But,  if  two  or  more  figures 
can  he  found  which,  to  one  versed  in  the  dance,  appear  to  represent 
^^ moments^'  of  some  step  in  the  modern  ballet,  it  can  be  demon- 
strated by  photographing  a  living  dancer  at  each  movement,  and 
i/n  this  manner  much  knowledge  may  be  gained. 

It  must  not  be  forgotten  that  the  Greeks  attached  a  wide  signifi- 
cance to  the  word  *'dance.**  Every  movement  executed  to  music 
was  considered  a  dance,  the  combats  of  the  Pyrrhics,  and  the  stately 
processions  of  the  temple  choruses.  The  Greek  made  his  oracles 
speak  in  numbers;  the  orator  timed  his  utterances  to  the  flute; 
fortifications  were  built  or  torn  down  to  the  rhythm  of  the  double 
flute.  At  last,  the  nation  went  mad  on  the  subject.  But  the  essence 
of  rhythm  permeated  to  the  very  center  of  Attic  existence.  Rhythm 
must  manifest  its  presence  in  bodily  movement  whether  the  result  was 
obtained  easily  or  with  difficulty.  The  perfection  of  rhythm  they 
called  ''eurhythmy,*'  a  word  the  very  sense  of  which  is  not  under- 
stood to-day. 

To  correctly  interpret  the  dances  represented  in  Greek  art,  it  is 
necessary  to  know  who  are  the  persons  who  dance.  The  high  gods 
descended  from  Olympus  to  preside  at  the  dances  of  their  worshipers; 
they  even  took  part  in  the  dances,  stately  and  dignified  dances,  often 
simplified  to  a  cadenced  walk,  as  gods  should  move.  Victory  dances; 
Eros  dances;  Hermes  and  Dionysos  dance. 

The  Dionysian  dances  are  those  most  often  spoken  of,— and  most 
misunderstood.  As  the  god  of  the  vintage,  he  is  the  god  who  pre- 
sides over  joy  and  folly.  Music  accompanies  him  over  the  hills;  he 
is  nature  personified.  His  companions  are  the  Satyrs  and  Nymphs, 
Naiades  and  Menades,  Pan  and  SUenus.  In  the  early  times  these 
beings  were,  many  of  them,  of  repulsive  aspect  and  their  dances 
clumsy.  But  these  characteristics  were  softeried  with  the  centuries, 
though,  in  the  Hellenistic  period,  the  Dionysian  cult  became  so 
obscene  that  a  description  of  the  dances  would  be  out  of  the 
question. 


^-^  t/' 

I'RANSLATOr's    foreword  XXI 

Frenzy  was  not  confined  to  the  Dionysimb  dances,  hut  had  its 
place  in  those  of  Orpheus.  All  steps  and  tempos  were  exaggerated 
out  of  all  resemblance  to  their  original  form.  Disorder  was  the 
only  recognized  order. 

In  Greece,  as  in  our  own  time,  amateurs  danced  for  their  own 
amusement  and  enjoyment  of  rhythmic  motion.  These  dances  were 
of  widely  differing  types,  from  those  of  the  Komastai  (who  went 
about  in  noisy  bands,  serenading  sober  and  respectable  citizens  who 
were  so  foolish  as  to  be  caught  by  one  of  these  rowdy  groups)  to  the 
groups  of  young  girls  who  dance  as  lightly  as  butterflies,  and  for 
the  same  reason,  for  joy  in  being  alive. 

The  Greek  dance  is  a  singular  mixture  of  steps  of  different  char- 
acter, from  the  Steps  on  the  Toes,  the  Pirouette,  which  can  be 
learned  only  by  long  study,  and  the  more  rudimentary  movements; 
their  dance  differed  from  the  modern  ballet  in  that  it  was  an  unfet- 
tered expression.  The  unexpected  was  sure  to  happen.  The  Greek 
dancer  speaks  with  his  whole  body;  he  is  at  once  dancer  and  actor. 
Being  less  conventional  than  ours,  the  Greek  dance  was,  at  the  same 
time,  lacking  in  precision. 

It  has  remained  for  the  twentieth  century  A.D.  to  discover  that 
the  union  of  music,  dance,  and  song,  as  practiced  in  the  fifth  century 
B.  C.  contained  something  too  precious  to  be  lost.  Emmanuel  de- 
voted years  of  study  to  proving  it,  and  the  translator  offers  his  work 
\  to  English-speaking  students  with  the  firm  conviction  that  the  time 
has  come  for  a  general  acceptance  of  these  facts,  and  a  full  faith 
that  the  dance-drama  is  about  to  assume  the  same  importance  in 
modern  life  that  it  held  in  ancient  Greece, 


ABRIDGED  ANALYSIS 

THE  SCULPTURED  AND  PAINTED  FIGURES 

SOURCES:  1.  Historical  sources  of  the  Greek  dance.  — 2.  The.  Painted  and 
Sculptured  Figures.  —  3.  The  Rhythms.  —  4.  The  Texts.  —  5.  Methods  applied  to 
the  study  of  the  dance.  —  6.  The  figures  treated  in  chronological  order. 

PAINTED  VASES:  7.  Vases  in  the  Mycenaean  style. — 8.  Vases  in  the  geo- 
metric style,  called  Vases  of  Dipylon.  —  9.  Vases  in  Oriental  style, — made  by 
the  incised  process.  — 10.  Vases  with  figures  painted  in  black  on  a  red  clay 
ground.  Sixth  century.  — 11-12,  Vases  with  red  figures  on  a  black  ground. 
(Fifth,  fourth,  and  third  centuries  B.  C.) — 13.  Painted  ceramics  on  a  white 
ground  (Lecythes),  funeral  vases. 

HIGH  AND  LOW  RELIEFS:  14.  Archaic  art.  (Seventh  and  sixth  centuries 
B.  C.)— 15.  Fifth  century  B.  C.  — 16.  Fourth  century  B.  C.  Tanagra.  — 17. 
The  period  known  as  the  Hellenistic.  (Third  and  second  centuries  B.  C.) — 18. 
First  century  B.  C.  Art  of  Greece  and  Rome.  Archaic  art.  Bas-reliefs  of  terra- 
cotta. 

INTERPRETATION  OF  THE  SCULPTURED  AND  PAINTED  FIGURES: 
19-20.  The  "restorations."  —  21.  Terra-cotta  forgeries.  —  22-23.  Errors  and  con- 
ventions in  painting  and  perspective.  —  24.  Absence  of  any  line  indicating  terra- 
firma  in  the  paintings  on  the  vases.  —  25-28.  Head  and  legs  in  profile,  body  full- 
face.  Necessary  corrections.  —  29.  Conventions  proper  to  bas-reliefs  applied  to 
the  positions  of  persons  walking.  —  30.  Unnatural  movements.  Exact  movements. 
Persistence  of  certain  kinds  of  movements  throughout  the  entire  series  of  paint- 
ings and  bas-reliefs.  —  30-31.  Limitations  of  the  study  of  dancing-movements  by 
the  Greeks. 

THE  TRADITIONAL  GESTURES  OF  THE  FIGURES  ON  THE  PAINT- 
INGS AND  BAS-RELIEFS:  34.  Confusion  possible  between  certain  traditional 
gestures,  symbolic  acting,  and  pure  dance-movements. — 35-36.  Creation,  repe- 
tition, variations  on  the  theme,  according  to  Greek  art.  —  37.  Three  classes  of 
traditional  gestures: 

I.  Symbolic  or  Ritualistic  Gestures:  38.  Gestures  of  the  divinities  who  dance. 

—  39.  Gesture  of  the  chaste  Venus.  —  40,  Gestures  of  worshipers.  —  41.  Gestures 
of  mourners.  —  42.  Gesture  of  tying  on  the  sandal.  —  43.  Gesture  with  the  veil. 

II.  Gestures  of  the  Customary  Kixd:  44.  Gestures  with  the  tunic.  —  45.  Mas- 
culine gestures  of  the  arm  with  the  cloak.  —  46,  Gesture  of  the  hand  on  the  bin. 

—  47.  Gesture  of  the  athlete  pouring  oil  over  his  body.  —  48.  Gesture  of  the  ath- 
lete rubbing  with  a  strigil.  —  49.  Gesture  of  the  athlete  binding  his  forehead  with 
a  fillet, 

xxui 


XXIV  ABRIDGED    ANALYSIS 

III.  Gestures  that  are  Cojtcrete  becoming  Decorative:  50.  Gesture  of  the 
arm  curved  above  the  head.  —  51.  Gesture  of  the  Venus  Anadyomene.  —  52. 
Gesture  of  Aquarius.  —  53.  The  dancers  make  use  of  the  traditional  gestures  and 
transform  them  to  meet  their  needs. 


THE  MOVEMENTS  IN  GENERAL 

Natural  Movements :  Walking  and  Running 

54.  Mechanical  movements.  —  55-56.  Expressive  movements  or  gestures.  —  57. 
Dancing  movements.  —  58.  Mimetic  type  of  Greek  dances.  —  59.  The  wider  sig- 
nificance of  the  Greek  word  which  means  singer  and  actor  as  well  as  dancer. 

THE  WALK:  60.  Dances  which  appear  to  be  modifications  of  the  movements 
of  running  and  walking.  —  61-62.  Mechanism  of  the  walk.  —  63.  Opposition  of  the 
arm  and  leg  in  walking.  Opposition  in  dancing.  —  64.  Representations  of  walk- 
ing taken  from  the  sculptured  and  painted  figures.  The  walk  on  the  soles  of  the 
feet.  —  65.  Varieties  of  the  walk  on  the  soles  of  the  feet.  —  66.  Development  of 
the  correct  form.  —  67.  Representation  of  the  march  from  the  Parthenon  frieze. 
—  68.  Persistence  of  the  walk  on  the  soles  of  the  feet. 

THE  RUN:  69.  Mechanism  of  the  run.  —  70.  Instinctive  opposition  between 
the  arm  and  leg  while  running.  —  71.  Many  aspects  of  running  at  different  mo- 
ments. —  72.  The  run  is  a  succession  of  leaps.  —  73.  The  figures  appear  never  to 
leap  without  first  bending  the  knee  sharply.  —  74.  Principles  of  the  leap  stated. 

75.  Representations  of  the  run  from  the  sculptured  and  painted  figures.  —  76. 
Runner; — leg-movement.  —  77.  Runner  kneeling.  —  78.  Runner,  one  leg  raised 
in  opposition  to  the  other.  —  79.  Runner  setting  out.  —  80.  Showing  runner  at 
the  moment  when  the  whole  body  hangs  suspended.  —  81.  Runner  following  the 
modern  method.  —  82.  Conventional  method,  academic  pose.  —  83.  Runner  fol- 
lowing the  archaic  method. 

84.  The  dance — steps  growing  out  of  the  transformations  and  alternations  of 
the  walk  and  the  normal  run. 


TECHNIQUE  OF  THE  DANCE 

/.     The  Positions 

(All  sentences  in  italics  relate  to  the  modern  dance;  the  others  treat  of  the 
Greek  dance.) 

85-86.  Positions  and  movements. — 87.  Positions  of  the  Legs;  Positions  of  the 
Arms;  Positions  of  the  Body;  Positions  of  the  Head. — 88.  Importance  of  the 
Positions  of  the  Legs. 

LEGS :  89-96.  The  Feet  in  the  fundamental  Positions.  The  five  Positions :  I,  II, 
III,  IV,  V. — 97.  Holding  out  one  foot. — 98.  The  five  Positions  give  sufficient 
variety. — 99-101.  The  principal  positions:  The  Second  and  Fourth  principal  Posi- 


ABRIDGED    ANALYSIS  XXV 

tions. — 102-103.  Positions  on  the  half -toe;  Positions  on  the  toe. — 104.  Feet  turn- 
ing outumrd. — 105-111.  Examples  of  the  different  Positions. 

ARMS:  112.  Varieties  of  the  Pose  of  the  Arms.  Positions  of  the  Arms. — 113. 
Extending  the  arm  and  hand. — 144.  Symmetrical  Positions  of  the  two  Arms.— 
115.  Contrasting  Positions  of  the  two  Arms. — 116.  Arms  employed;  arms  free. — 
117.  In  the  Greek  dance  the  Positions  of  the  Arms  are  not  symmetrically  arranged, 
as  in  ours. — 118.  Arms  often  rigid,  or  bent  at  abrupt  angles. — 119.  Hand  always 
active. — 120-131.  Symmetrical  Positions  of  the  Arms. — 132-143.  Contrasting  Po- 
sitions of  the  two  Arms. 

HANDS:  144.  The  palm.— 145.  Hand  active.— 146.  Hand  flat.— 147.  Index 
finger  separated  from  the  other  digits. — 148.  Hand  raised  in  front  of  the  eyes. — 
149.  Exceptional  positions  of  the  hand  and  fingers  in  "character"  and  grotesque 
dances. 

BODY:  150.  Positions  of  the  Body.— Ibl-im.  Positions  of  the  Body.— 157.  Po- 
sitions used  by  only  the  Bacchic  dancers. 

HEAD:  158.  Positions  of  the  Head.— 159-163.  Positions  of  the  Head.— 164. 
Groups  of  three  dancers,  illustrating  classic  positions. 

165.  Positions  of  the  Legs,  the  Body,  and  the  Head,  used  more  by  the  Greek 
dancers  than  by  us. 

166.  Combinations  of  positions  between  them.  Their  theoretical  number. — 
167.  Oppositions  of  the  dance. — 168-170.  Remarkable  combinations;  the  Arabesque 
Attitude. — 171.  Opposition;  the  Tanagran  Eros. — 172.  Absence  of  intentional 
Opposition;  drunken  dancers. — 173.  Opposition  in  dancing  affecting  drawing  and 
sculptural  design. — 174.  The  Attitude. 


II.     Preparatory  Exercises 

175.  Connection  between  the  positions  and  the  movements. — 176.  Statics  and 
changes  of  the  dance;  preparatory  exercises. 

LEGS:  177.  Bending  and  holding. — 178.  Bending. — 179.  Separating.— ISO.  Toe 
down. — 181.  Separating. — 182.  Toe  down. — 183.  Battement. — 184.  Battement  the 
ground. — 185.  Battement  held. — 186.  Great  Battement.— 1S7.  Transmission  of 
movement  from  the  leg  which  rises  and  lowers. — 188.  Different  forms  of  the  Great 
Battement. — 189-190.  Restoration  of  the  Great  Battement. — 191.  Circles  with  the 
legs. — 192.  Circles  with  the  legs  on  the  ground. — 193.  Circles  of  the  legs  held. — 
194.  Grand  circle  of  the  leg. — 195.  Circles  with  the  legs. — 196.  First  exercises. 

ARMS:  197.  Movements  of  the  arms;  transmission  of  the  movement  from  the 
arm  which  is  raised  and  lowered,  which  opens  and  closes. — 198.  Realistic  rep- 
resentations of  the  arms  in  curves.  Movements  of  the  arms  of  our  dancers 
largely  decorative. — 199.  Movements  of  the  arms.  In  the  dance  the  arms  and 
the  hands  interpret  by  their  gestures,  and  they  have  a  dramatic  value. 

BODY  AND  HEAD:  200.  Movements  of  the  Body  and  Head.— 201.  Movements 
pf  the  Body  and  Head. 


XXVI  ABRIDGED    ANALYSIS 

202.   Combinations  of  movements  in  .Opposition. — 203.   Combinations  of  move- 
ments. Eurhythmy. — 204.    Arrhythmic  dances. 


///.     Tempos  and  Steps 

GENERALITIES:  205.  Directions  according  to  which  the  dancer  places  him- 
self.— 206,  The  Step  determines  the  Tempo. — 207.  Tempo  signifies  Movement. — 
208.  Time  the  feet  remain  on  the  ground,  Time  they  remain  in  the  air,  Time  of 
their  return. — 210.  Gradation  of  the  exercises. 

POSTURES  OF  THE  FEET:  211.  The  step  and  the  posture  of  the  feet, 
and  length  of  the  step  in  the  dance. — 212.  The  three  forms  of  posture  for  the 
feet. — 213,  Shoes  without  heels. — 214.  The  three  forms  of  posture  for  the  feet. — 
215.  Position  of  the  feet  on  the  half-toe. — 216.  Position  of  the  feet  on  the  toe. — 
217.  Flexible  sole. 

DESCRIPTION  OF  SOME  TEMPOS  AND  STEPS:  218.  The  Slide.— 219. 
The  Chasse.— 220.  The  Coupe.— 221.  The  Fouette.— 222-223.  Jete.— 224:.  Observa- 
tions relating  to  the  preceding  movements. — 225.  Representation  of  such  move- 
ments as  the  Chasse  and  the  Coupe  impossible  in  one  figure. — 226.  The  Slide. — 
The  Slide  made  on  both  feet  at  the  same  time.— 227-228.  Fouette.— 229-230.  Jete. 

231.  Tempos  increasing  Ballonnes. — 232.  Tempo  Ballonnes. — 233.  Balance  steps. 
— 234-235.    Balance  steps. 

236.  Tempos  and  Steps  on  the  toe. — 237.  Leaving  the  Fifth  for  the  Second,  on 
the  toes. — 238.  Rising  on  the  toes. — 239.  Steps  on  the  toe. — 240.  Tempos  on  the 
toe. — 241.  Small  steps  on  the  toes. — 242.  Running-steps  on  the  toes. 

243-244.  The  Assemble.— 24:5-24:6.  Mutation  of  the  feet. — 247.  Beating-step 
{Battus).—24^^-24Q.  The  Cut  {Entrechat).— 25Q.  Three  cuts.— 2bl.  Four  cuts.— 
252.  Isochronism  of  the  movements  ichich  are  similar,  consecutive. — 253.  Steps  of 
the  Entrechat. — 254.  The  Assemble  and  the  Mutation  of  the  Feet. — 255.  Beating- 
steps.     Entrechat. 

256.  Turning  movements  on  the  ground  and  in  the  air. — 257.  Whirling  steps. — 
258.  Pirouette. — 259.  Pirouette  outward  and  Pirouette  intcard. — 260.  Preparation 
for  the  Pirouette. — 261.  Execution  of  the  Pirouette. — 262.  Pirouette  on  the  in- 
step.— 263.  Varieties  of  the  Pirouette. — 264.  Turning  in  the  air. — 265.  Turning 
movements. — 266.  Turning  by  stamping. — 267.  Turning  by  stamping  in  Fourth 
crossed. — 268.  How  to  determine  the  direction  of  the  rotation  of  the  figures  rep- 
resented in  the  paintings  and  reliefs. — 269.  Pirouette. — 270.  Pirouette  outward 
and  Pirouette  inward. — 271.  Pirouette  on  the  instep. 


RECONSTRUCTION   OF  THE   TEMPOS  AND   THE   STEPS 

from  the  Antique  Figures 

COORDINATION  OF  THE  MOVEMENTS:  272.  Superposition  of  move- 
ments.— 273.  Succession  of  movements. — 274.  Repeated  movements. — 275.  Alter- 
nated movements. — 876.  Enchainments  alternated. — 277.  Movement  oppositions, — 


ABRIDGED     ANALYSIS  XXVll 

278.  Opposition  of  movement  of  the  arms  and  legs — 279.  Opposition  of  movements 
of  the  body  and  head. — 280.  Relation  between  opposing  movements. — 281.  Resume. 

IDENTIFICATIOX  OF  THE  MOVEMENTS  BY  MEANS  OF  THE 
SCULPTURES  AND  PAINTINGS:  282.  The  moments  of  the  movements.— 283. 
Characteristic  moments. — 284.  Essential  moments. — 285-286.  Number  of  figures 
necessary  to  determine  the  movements  of' the  dance. 

RECONSTRUCTION  OF  THE  TEMPO:  287.  One  image  may  furnish  a 
representation  of  a  characteristic  moment. — 288.  Images  showing  two  charac- 
teristic moments. — 289.  Figures  in  Series. — 290.  Cat-leap. — 291.  Statues  and 
paintings  showing  the  two  supreme  moments. — 292.  Incomplete  series:  interpola- 
tions.— 293.  Series  of  statues  and  paintings  which'  are  widely  separated. — 294. 
Resume. 

RECONSTRUCTION  OF  THE  STEP:  295.  Composition  of  the  Steps.— 296. 
Steps  which  had  fallen  into  disrepute  before  this  time. — 297-298.  Examples  of 
restorations.  Vertical  axis  line  of  equilibrium. — 299.  Steps  made  by  leaping  directly 
upward  and  alighting  in  the  same  place. — 300.  Knees  flexed  from  Antique  vases. — 
301-302.  I>eg  raised. — 303-304.  Springing  in  place,  leg  raised. — 305.  Bacchic  steps 
a  special  form. — 306.  Sidewise  wheeling. — 307.  "Little  Russian"  dances. — 308. 
Dances  with  body  bent  backward. — 309.  Backward  bending  maintained. — 310. 
Intermittent  bending. — 311.  Body  alternately  bending  backward  and  forward. — 
312.  The  backward  bend  made  as  a  part  of  the  step. — 313.  Objective  point  of 
movement. — 314.  Body  bent  forward  all  through  the  steps. — 315.  Dancers  who 
crouch  or  kneel. — 316.  Dances  with  the  mantle. — 317.  The  veil  dancers  of  Pompeii. 
—318.  Managing  the  veil. — ^319-323.  Dances  with  the  joined  hands.  Different 
forms. 

STUDIES  OF  THE  DANCER 

324.  The  dance  properly  so-called. — 325.  The  Bar. — 326.  Gradation  of  exercises. 
— 327.  The  ballet-masters. — 328.  Dancing  lessons.— 329.  Gymnastics  of  the  dance. 
— 330.  List  of  exercises. — 331.  Choregraphy.  The  master  of  the  dance. — 332. 
Traces  of  the  Greek  choregraphy  which  have  been  preserved. 


THE  CHOREGRAPHY 

The  mimic  funeral. — The  rhythmic  games 

STEPS  FOR  TWO:  333.  Decorative  contrasts.— 334.  Two  men.— 3C5.  The  dance 
of  the  Wine  Press. — 336.  Two  women. — 337.  Man  and  woman. — 338.  Man  and 
woman  with  arms  about  each  other's  necks  or  holding  each  other  by  the  hand. — 
339.  Repugnance  of  the  Greeks  against  dancing  of  couples  interlaced. 

STEPS  FOR  THREE:  340.  Three  women.— 341.  One  man  and  two  women.— 
342.  One  woman  between  two  men. 

THREE  DANCERS  AND  A  LEADER:  343.  Traditional  groups.— 344.  The 
god  who   leads   precedes   three   women,  without   holding   their   hands. — 345.   The 


XXviii  ABRiDGfiD    aKaLysis 

god  who  leads  holds  the  hand  of  one  of  the  women. — 346.  Three  women  without 
a  leader. — 347.  Dances  held  in  groups.        ^ 

CHORUS  OF  THE  DANCE:  348.  Absence  of  perspective  from  the  repre- 
sentations of  choral  dances,  consequences. — 349-352,  Choral  choruses  in  which  the 
dancers  hold  one  another  by  the  hand. — 353.  The  ring. — 354.  The  choruses  in 
which  the  dancers  in  file  do  not  hold  hands. — 355.  Dancers  in  ranks,  facing  front. 
— 356.  The  chorus  of  the  theatre. — 357.  The  "Tratta." — 358.  Dances  in  armor. — 
359.    Pyrrhic   for  one. — 360.   Pyrrhic  for  two. — 361-362,   Pyrrhic  en  masse. 

MOURNING  DANCES:  363.  Attic  funeral  rites.— 364.  The  mourners  of  Dipy- 
lon.  Primitive  gestures  of  sorrow. — 365-370.  Evolution  and  persistence  of  the 
gestures  of  mourning. — 371.  Funerals  of  modern  Greece. 

THE  PLAY  RHYTHMS:  372-373.  Application  of  rhythm  to  play.— 374.  The 
Kubisteteres, — 375.  The  dances  on  vases  Cottabe. — 376.  The  rope-dancers  of 
Pompeii. — 377.  The  games  of  exaggerations. — 378-380.  Play  rhythms. 


THE  DANCERS 

THE  GODS  WHO  DANCE:  381-382.  The  greater  and  the  lesser  gods.— 383^ 
Victory  a  dancer. — 384.  Eros  the  dancer. — 385.  Atys  dancer. — 386.  The  Curetes 
(Clashers)  as  dancers. — 387.  Pyrrhic  and  dances  of  the  Curetes. — 388.  Dionysos 
and  the  Dionysian  dances.— 389.  The  Silenes  and  the  Satyrs.— 390.  Pan.— 391.  The 
Menades.— 392.  The  Bacchants. — 393-394.  Accessories  of  the  Bacchants,— 395. 
Bacchanalian  feasts  and  their,  ritual  of  disorder. — 396.  Groupings  of  the  dances 
of  the  Bacchanales. — 397.  Mimetic  dances  and  mimetic  scenes.— :398.  Presence  at 
the  Bacchanal  of  persons  who  were  strangers  to  the  Dionysian  period. — 399.  Dio- 
nysian dances  of  the  Hellenistic  period. 

DANCES  IN  HONOR  OF  THE  GODS:  400.  The  fantastical  ritual;  the 
orgies, — 401.  Dances  in  honor  of  Rhea. — 402.  Orphic  dances. — 403.  Phallic  dances. 
— 404.  Altar  of  sacrifice  in  the  center  of  the  circle  of  dancing  Bacchants. — 
405.  Character  of  the  movements  in  the  orgiastic  dances. — 406.  Religious  dances 
not  orgiastic. — i07.  Hierodules  wearing  the  kalathos;  their  dance. — 408.  Religious 
processions. — 409.  Procession  to  the  temple  of  the  Harpies,  from  the  Parthenon 
frieze. — 410.  The  Parthenon  frieze. — 411.  Religious  processions  on  the  painted 
vases, — 412.  Conventional  decoration  from  the  representations  of  the  processions 
and  the  rule  of  the  same  step. 

PRIVATE  OR  SOCIAL  DANCES:  413-414,  Professional  dancers  and  dances 
by  free  citizens. — 415.  The  Komos  dances. — 416.  Amateurs  who  were  dever  in  the 
art  of  dancing. 

CONCLUSION 

417,  Results  acquired, — 418.  Technique  and  Esthetics, — 419,  Esthetics  of  the 
dance. — 420.  Eurhythmy. — 421.  Arrhythmy. — 422.  The  conventions. — 423.  The 
imitation  of  the  Greek  dances. — 424-425.  Greek  Tempo  and  Step. 


THE  SCULPTURED  AND  PAINTED 
FIGURES 


SOURCES 

1.  In  the  study  of  the  antique  Greek  dance,  information  comes 
from  three  sources,  as  follows : 

The  Figures  (painted  vases,  bas-reliefs,  etc.). 

The  Rhythms  of  the  poets — lyrics,  tragedies,  comedies,  bal- 
lads, etc. ;  therefore,  the  works  appertaining  to  this  period  in  which 
the  three  musical  arts — poetry,  music,  and  dancing — are  closely 
related,  furnish  the  foundation  of  the  ];:hythms   of  the  dance. 

The  Writings  of  different  authors  which  treat  of  questions 
relating  to  the  dance,  and  which,  with  the  exception  of  a  few  scat- 
tered pamphlets,  are  all  that  remain  in  Greek  literature  on  this 
subject. 

2.  It  is,  perhaps,  unnecessary  to  call  attention  to  the  relative 
importance  of  the  sculptured  figures,  which,  indubitably,  belong  at 
the  head  of  the  list.  If  this  much  can  be  established,  our  study  of 
the  steps  has  no  other  object;  for  notwithstanding  the  aberrations  of 
the  fancy  of  artists  who  were  inexperienced,  the  movements  of  the 
danCe,  as  depicted  on  the  vases  and  reliefs  are  often  good  and  ac- 
curate renditions  of  the  scenes  of  the  dance,  and  may  be  considered 
the  most  valuable  documents  upon  which  we  may  draw  for  con- 
sultation. 

3.  The  poetic  rhythm  itself  bears  out  the  idea  gained  from  the 
study  of  the  figures  on  the  painted  vases  and  reliefs.  With  the 
poetic  accompaniment  of  song  and  dance,  the  rhythm  becomes  the 
bond  which  unites  the  three  arts.  With  the  ancients  this  union  is 
so  complete  that,  if  we  arrive  at  an  understanding  of  their  poetry, 
we  shall,  at  the  same  time,  discover  the  secret  of  their  music-rhythm 
and  their  dance-rhythm.  This  result  has  been  difficult  to  obtain. 
Until  lately  we  could  not  differentiate  with  precision  between  the 
formal  rhythms  and  the  more  simple  ones.  The  versification,  cor- 
rectly enunciated,  enables  us  to  analyse  the  metres,  the  successions 
in  tempo,  the  heavy  and  the  light,  the  law  of  their  alternation,  and 
their  relative  duration,  when  the  movement  of  the  verse  is  uniform,  re- 

3 


4j  '•  '         Tlili    SlDUIvFTURED    AND    PAINTED    FIGURES 

peatlng  in  long  passages  the  systems  of  strope-construction  of  the 
model  agreed  upon,  as  the  alcaic  strope,  the  Saphic  stropc,  etc. 
Unhappily,  the  true  poetry  of  the  dance  has  a  movement  much 
more  free  from  restraint  of  the  set  metrical  type  than  the  poetry 
of  the  choruses  of  .^schylus,  Pindar,  or  Aristophanes,  so  that  we 
cannot  make  an  exact  analysis  of  it. 

But,  from  the  one  it  is  possible  to  surmise  the  other,  its  order 
and  its  structure,  with  fewer  and  fewer  deflections  from  the  regular 
metres,  resulting  in  confusion.  But,  considering  the  part  played 
by  conjecture,  it  is  impossible  to  discover  from  the  restorations  the 
elements  necessary  to  make  a  plausible  comparison  with  the  figures 
on  the  monuments.  It  is  admitted  that,  elsewhere,  the  rhythm 
takes  on  a  form  quite  different  from  this.  The  metres  follow  more 
closely  the  grammatical,  and  to  som^  extent,  the  pedagogical  laws. 
They  do  not  take  into  account  the  particular  exigencies  of  music 
and  the  dance. 

It  is  not,  therefore,  out  of  place  to  deduce  from  their  methods 
certain  modifications  which  apply  equally  to  the  set  forms  of  the 
three  musical  arts. 

Despite  the  lacunse  which  are  difficult  to  fill  up,  the  Greek 
rhythm  of  the  poetry  of  revel  is  a  direct  source  of  information,  and, 
from  it  the  historian  of  the  dance  can  gain  a  great  deal. 

4.  The  texts  of  the  authors  do,  in  a  great  measure,  establish 
the  indications  furnished  by  the  painted  and  sculptured  figures  and 
by  the  rhythms.  Not  that  the  agreement  is  always  easy  to  find,  but 
only  that  it  is  possible  of  accomplishment.  In  default  of  a  methodi- 
cal treatise,  which  appears  to  never  have  been  written,  it  is  permit- 
ted one  to  learn  for  oneself  the  Greek  idea  of  dancing  and  the 
domain  of  that  art.  It  is  for  us  to  point  out  that  which  is  singularly 
great  and  beautiful  in  it,  and  it  is  for  us  to  teach,  however  badly, 
the  processes  of  the  gymnastics  of  the  dance;  it  is  for  us  to  learn 
that  it  is  a  divine  art,  and  that  it  plays  no  small  role  in  the  educa- 
tion of  man.  It  is,  likewise,  made  possible  for  us  to  make  a  long 
list  of  the  dances  which  were  practiced  in  ancient  Greece,  during 
different  periods,  and  this  will  be  somewhat  to  our  advantage. 
Of  these  dances  we  know  little  except  their  names  and  some  similar 
data,  under  which  they  will  be  broadly  catalogued. 


SOURCES  O 

The  compilation  made  by  J.  Meursius  in  1618,  is  a  laborious 
enumeration,  made  in  alphabetical  order,  of  all  the  expressions  used 
by  a  philologist  of  Holland  relating  to  the  dance.  It  would  be 
useless  to  search  in  this  work  or  that  of  Krause  (Gymnastics  and 
Agonistics  of  Hellas)  for  the  elements  of  a  restoration  of  the 
antique  Greek  dance,  or  any  approach  to  it.  The  pamphlets  of 
Buchholtz,  of  KirchhofF,  and  of  Flach  are  not  more  explicit.  To 
place  much  reliance  on  their  writings  is  to  plunge  oneself  into  un- 
certainty and  confusion.  The  Dialogue  of  the  Dance  of  Lucien 
is  a  caprice,  replete  with  gaiety,  and  describes  the  Roman  panto- 
mimes with  the  freshness  of  an  eye-witness.  The  discourse  of  Li- 
banius.  Concerning  Dances,  is  of  the  earliest  period,  the  fourth 
century  B.  C.  The  compilers  and  lexicographers,  Athenatus, 
Pollux,  Proclus,  Hephestion,  Hezechius,  Suidas,  etc.,  all  of  whom 
wrote  after  the  classic  period,  wrote  with  so  little  understanding 
of  the  subject  that  their  works  are  full  of  contradictions.  They 
are  nothing  short  of  a  plague  with  their  primitive  philology.  To 
seek  among  them  for  the  key  to  the  Greek  dance  is  to  forever 
block  one's  path  to  discovery.  They  are  ignorant  of  even  the  lan- 
guage ;  they  give  the  most  diverse  meanings  to  the  same  words, 
choosing  as  seems  good  to  them.  Is  it  too  much  to  expect  Plato, 
Xenophon,  or  Aristotle  to  volunteer  some  dissertation  on  the  dignity 
of  the  dance  and  its  gracious  beauty,  when  they  were  in  a  position 
to  know  so  much  about  it.^^  Better  to  hunt  in  the  comedies  or  in  the 
tragedies,  where  the  characters  themselves  dance,  and,  now  and 
then,  make  some  comment  regarding  dancing.  All  of  the  informa- 
tion furnished  by  the  texts  has  value,  and  is  interesting.  Upon 
surveying  the  whole  situation,  it  is  plainly  to  be  seen  that,  in  order 
to  get  any  real  knowledge  of  the  philosophy  of  the  dance,  the  figures 
on  the  monuments  must  be  recognized  as  their  own  best  commen- 
tary. 

5.  The  method  which  I  shall  suggest  for  the  study  of  the  antique 
Greek  dance  is  quite  different  from  any  that  has  been  used.  It  is 
from  the  dances  depicted  upon  the  vases  that  we  shall  ask  our 
first  dancing-lessons.  From  the  images  we  shall  learn  the  reasons 
why  the  Greek  dance  occupied  certain  spaces;  then  we  shall  use 
the  rhythms  to  discover  why  they  used  certain  tempos;  the  texts 


6  THE    SCULPTURED    AND    PAINTED    FIGURES 

shall  tell  us  why  they  danced  and  what  ethical  value  they  placed  on 
the  dance.  Many  mistakes  have  been  made  by  an  effort  of 
synthesis,  and  a  seeking  to  reconcile,  evidence  so  abundant  and 
orders  so  diverse,  carrying  the  movements,  the  rhythms,  and  the 
esthetics  of  the  art  all  together  to  a  harmonious  ensemble.  In 
order  to  obtain  this  result,  it  will  be  well  to  separate  the  difficulties 
into  groups.  Suppose  that,  in  the  beginning,  we  ignore,  for  the 
moment,  all  sources  of  information  except  the  figures. 

What  are  these  paintings  and  sculptures,  and  how  are  we  to  in- 
terpret them?  What  is  the  value  of  the  information  they  give.^^ 
How  far  do  they  themselves  agree.? 

6.  The  figures  used  in  this  study  cover  a  long  period  of  time. 
From  the  vases  of  Dipylon  to  the  art  objects  of  the  Gallo-Roman 
period,  many  of  which  were  copied  from  Hellenistic  work,  there  pass 
more  than  twelve  centuries.  The  changes  in  technique,  and,  much 
more,  the  subjects  represented,  make  it  possible  to  assign_3^ith 
some  exactness  the  date  of  the  vases  and  reliefs.  From  them  we 
have  taken  a  small  number,  of  the  chronological  sequence  of  which  it 
is  possible  to  speak  definitely;  all  of  the  others  belong  to  a  series, 
the  duration  of  which  is  uncertain.  The  archaeologists,  through 
systematic  interpretation,  have,  in  the  past  few  years,  established 
the  chronology  of  a  number,  but,  through  the  new  discoveries  be- 
ing made  all  the  time,  they  are  often  obliged  to  modify  their  state- 
ments. However,  the  combined  results  show  enough  in  common 
so  that  they  may  be  considered  a  useful  frame  for  the  picture. 


PAINTED  VASES 

XV  7.     Vases  in  the  Mycensen  Style.— These  vases,  which 

to  M.  Perrot  has  done  more  than  any  one  else  to  classify, 

X  he  calls  "Vases   in  the  ^gean  Style," — because  they 

B.  C.         have   been   found   throughout   the   whole   basin   of   the 

^gean  Sea.    They  are  decorated  with  figures  of  animals 

and  plants,  but  show  no  human  figures.     They  will  not, 

therefore,  receive  much  attention  in  this  book.     It  was 

the  flora  and   fauna   that   inspired   these   artists,   and 


PAINTED    VASES 


they  drew  the  seaweed  and  molluscs  with  remarkable 
ability.  To  their  brushes  we  owe  much  that  is  lovely 
in  line  and  curve.  M.  Pottier  has  thrown  much  light 
upon  our  understanding  of  curvilineal  decoration  of 
vases  belonging  to  this  category. 

8.  Vases  in  the  Geometric  Style,  Called  the  Vases         XI 
of    Dipylon. — Like    the    vases    called    Mycenaen,    these  ^® 
are  of  Greek  origin,  but  they  are  fundamentally  differ-          ^•^■'■ 
ent  from  them.     A  product  of  evolution,  their  origin         ^'  ^' 
is  most  obscure,  and  their  decoration  wholly  different 

from  any  others.  The  straight  line  is  substituted  for^^W^ 
the  curved  one,  and  the  ornamentation  is  geometrical; 
the  plants  and  animals  present  a  rigid  appearance, 
and  the  drawing  is  primitive.  The  human  figure,  it 
would  seem,  has  escaped  the  odd  geometricalization  of 
form ;  these  personages  are  detached  as  opaque  sil- 
houettes from  the  clear  ground-work  of  the  vase,  a 
sort  of  hieroglyph  of  sharp  angles  and  grotesque 
heads.     (Figs.  515,  516,  541,  542.) 

The  representations  of  the  dancing  movements  ex- 
ist in  great  numbers.  In  order  to  write  of  the  dance 
in  its  earlier  manner,  and  preserve  accuracy,  it  is  neces- 
sary to  note  carefully  the  work  of  these  ceramists. 
The  funeral  scenes  are  the  evolution  of  the  great  vases 
of  Dipylon,  apparently,  by  a  direct  representation  of 
the  personages  and  the  ritualistic  4ance  that  accom^-^^^ — 
^anicd  the  burial  of  the  dead,  the  same  'ranks  of 
armed  warriors,  who  advance  with  the  same  steps. 
There  are  three  kinds  of  dances  represented,  funeral 
dances,  dances  by  warrior^  and  dances  hy-^he  popu- 
lace; these  constitute  almost  the  whole  repertoire  of 
the  ceramists  of  Dipylon,  which  deal  with  the  human 
figure. 

9.  Vases  in  the  Oriental  Style. — Regarding  the  dis-         VII 
coveries  on  the  Islands  of  the  Archipelago,  of  Ionia,         B.  C. 
and  of  Greece  proper,  the  principal  centers  of  manu- 
facture were  Rhodes,  Milo  and  Corinth.     The  Oriental 


THE    SCULPTURED    AND    PAINTED    FIGURES 

influence  is  evident  in  the  choice  of  motifs  of  ornamen- 
tation. The  human  figures  are  framed  in  plants,  in- 
terspersed with  animals,  borrowed,  no  doubt,  from  the 
textiles  made  in  Oriental  countries.  A  coat  of  white, 
spread,  on  the  surface  of  the  vase  forms  the  foundation 
upon  which  were  superposed  the  ornaments,  which  were 
often  arranged  in  parallel  rows. 

From  the  middle  of  the  seventh  century  B.  C,  a 
new  process  is  to  be  noted  in  the  decoration;  this  is 
incision.  It  consists  in  cutting  the  contours  of  the 
figures  with  a  sharp-pointed  instrument ;  the  point  cuts 
through  the  painted  surface,  and  the  clay  foundation 
is  revealed.  The  relation  of  this  kind  of  technique  to 
metallurgy  is  evident.  The  presence  of  this  incised 
decoration  on  the  vases  is  of  great  importance  in  es- 
tablishing the  chronology  of  ceramics,  as  this  style  of 
work  is  not  found  prior  to  the  date  given. 

The  list  of  colors,  which  is  very  conventional,  is 
reduced  to  red,  black  and  white.  These  colors,  com- 
bined, give  to  the  work  an  atmosphere  of  lightness  and 
gaiety. 

The  movements  of  the  dance  represented  show  also 
fibres  more  flexible,  less  rigid.  The  walk  on  the  ball 
of  the  foot  (102),  the  running  bend  (77),  the  leap, 
are  marked  by  a  flexion  of  the  knees,  becoming  less 
formal  (300).  The  burlesque  dances  of  Komos  (415) 
were  greatly  favored  as  subjects  by  the  ceramic  paint- 
ers of  the  seventh  century  B.  C.  The  ranks  of 
warriors  in  armour,  of  the  preceding  series,  which  are 
not  wholly  unlike  them,  are  often  engaged  in  singular 
combats ;  two  heroes  in  helmets,  facing  each  other,  oc- 
casionally take  part  in  the  simple  Pyrrhic  dance  (358), 
threatening  with  their  lances.  Always,  these  gentle- 
men were  quite  enough  for  the  simpletons  who  con- 
fronted them.  Although  their  individuality  is  strongly 
marked,  the  type  is  already  changing  from  the 
geometric  style. 


PAINTED    VASES  9 

10.  Vases  with  Figures  Painted  in  Black  on  a  Red  VI 
Clay  Ground. — The  workmanship  and  the  style  show  B.  C. 
the  Attic  traits  predominant ;  the  decorations  of  plants 
and  animals  disappear.  The  strict  manner  and  the  too 
great  exclusiveness  of  the  painters  of  vases  eliminates 
the  quality  of  picturesqueness ;  they  are  not  as  inter- 
esting when  the  animals  and  flowers  are  sacrificed  to 
make  way  for  the  human  figures  alone.  The  person- 
ages are  detached  from  the  ground,  and  the  decora- 
tion does  not  so  completely  cover  the  foundation.  The 
white  covering  is  abandoned;  the  clay  paste,  colored 
red  with  oxide  of  iron,  shows  a  foundation  tawny  and 
smooth ;  the  figures,  painted  in  black,  come  out  sharply. 
The  process  of  incision  (9)  is  the  same  in  all  cases. 
The  painters  touched  up  the  parts  intended  to  repre- 
sent the  flesh  of  women  with  white,  while  men  were 
represented  entirely  with  black.  (Figs.  504-505.)  In 
the  same  manner  the  Egyptian  artists  diff^erentiated  the 
colors  for  the  sexes. 

The  technical  fineness  and  the  excellence  of  the  de- 
sign, while  showing  something  of  the  stiff^er  archaic, 
becomes  more  liberal ;  the  artists  do  not  step  aside  from 
forms  which  are  simple  and  therefore  suited  to  the 
subject.  Indeed,  they  laid  more  and  more  stress  upon 
simplicity. 

The  funeral  dances,  the  military  dances,  and  the 
dances  of  Komos  continue  to  enjoy  great  favor,  but 
new  dances  appear  upon  the  scene;  processions  of  the 
gods,  preceded  by  players  upon  the  lyre  and  players 
upon  the  flute  to  whose  rhythms  step  the  Immortal 
Ones ;  Satyrs  and  Menades  of  the  circle  of  Dionysos 
dance  in  honor  of  their  superior,  who,  now  and  then, 
appears  among  them ;  choruses  from  the  theatre, .  in 
ranks  and  iiL-fiks^ae^^Ls^  There  may  be  mentioned  also 
the  Amphores  Panathenaiques,  showing  the  prize-win- 
ning conquerors  in  the  gymnastic  games,  the  palestrian 
scenes,  leaping,  running,  throwing  the  discus,  throwing 


10  THE    SCULPTURED    AND    PAINTED    FIGURES 

the  javelin,  etc.,  which,  together  with  the  characteristic 
dances  already  spoken  of,  held  some  traits  in  common. 
(372.) 
V  11.    Vases  with  Red  Figures  on  a  Black  Ground. — 

B.  C.  From  about  410  B.  C.  the  technique  of  the  painters 
is  entirely  changed;  they  use  a  method  directly  op- 
posite to  that  of  the  sixth  century  B.  C.  It  is  the 
figure  which  is  kept  in  the  red  clay  with  the  back- 
ground painted  black.  The  incision  remains  the  same. 
On  the  bodies  of  the  figures  the  details  were  worked 
out  with  black  paint,  lightly  sketched  in  with  a  brush. 
The  design  becomes  free,  the  archaic  rigidity  giving 
way  to  a  perfection  of  elegance.  (See  Plate  I,  Figs. 
481—552.)  The  designs  remain  simple.  All  of  the 
representations  of  dancers  are  marked  by  an  upward 
tendency  on  the  vases  of  the  fifth  century  B.  C.  The 
mimic  funeral  takes  on  a  greater  importance  from  the 
wonderful  funeral  vases  called  loutrophoresy  and  on 
the  lecythes,  on  a  white  ground,  which  were  ritualistic 
objects  in  the  cult  of  the  dead. 

The   character   dances   were   not   rare,   if   one   may 
judge   from   the    ceramic   paintings    of   the   fifth   cen- 
tury B.  C. 
IV  and  in       12.    Series  of  Vases  with  Red  Figures. — These  vases 

B.  0.  establish  the  evidence  that  many  technical  peculiarities 
persisted  until  the  end  of  the  third  century  B.  C,  a 
period  which  apparently  ends  the  making  of  painted 
vases  in  Greece.  But  it  is  quite  possible  to  distinguish, 
from  their  style,  the  work  of  the  ceramists  of  the  third 
and  fourth  centuries  B.  C. 

Fourth  Century  B.  C — The  skill  of  the  painters  is 
minutely  perfect.  The  movements  become  really  inter- 
pretive coupled  with  scientific  correctness.  They  float 
and  are  fashioned  amply.  At  the  same  time,  the  scenes 
represented  are  complicated;  the  persons  are  disposed 
in  many  differing  designs.  The  brush  of  the  artist 
acquires  a  surprising  virtuosity;  the  dancers  revolve: 


HIGH    AND    LOW    RELIEFS TERRA-COTTA    FIGURINES  11 

the  dancers  whirl  and  fling  their  veils  in  the  air.  The 
more  fantastic  dances  are  the  ones  they  prefer. 

It  is  needless  to  remark  that  it  is  not  enough  to  con- 
sider the  foregoing  works  in  order  to  arrive  at  a 
knowledge  of  the  Greek  traditions. 

Third  Century  B.  C. — The  designs  become  heavy,  the 
style  debased.  The  retouching  with  white  increases. 
Confusion  results  from  the  great  number  of  figures 
introduced  into  the  scenes.  The  floral  decoration  over- 
flows until  but  little  of  the  groundwork  shows.  The 
whole  effect  is  at  once  rich  and  clumsy. 

Among  the  scenes,  the  Bacchanalian  predominate. 
There  is  a  veritable  inundation  of  Satyrs  and  Menades, 
whose  dances  exhibit  the  more  movement  as  they  be- 
come less  eurhythmic;  they  move  to  the  music  of  tam- 
bourine and  castanets.  Often,  Eros  Hermaphrodite 
whirls  in  their  midst,  marking  by  his  presence  the 
union  of  the  cycles  of  Dionysos  and  those  of  Aphrodite. 

13.  Notwithstanding  the  greater  simplicity,  they  did  not  neg- 
lect the  important  details,  as  is  seen  in  the  paintings  on  a  white 
ground  on  the  vases  of  the  seventh  century  B.  C.  (9),  and  which 
form  the  point  of  departure.  The  sixth  century  B.  C.  and  the 
ones  following  do  not  give  up  the  same  technique;  they  develop  a 
parallel  series,  and  one  must  be  very  careful  not  to  confuse  the 
two. 

The  lecythes,  funeral  vases,  of  the  fifth  and  fourth  centuries  B.C. 
are  by  far  the  most  beautiful  of  the  Attic  wares.  The  figures  are 
painted  in  profile,  of  simple  design,  and  transparent,  and  the  work 
shows  a  lightness  and  sureness  of  touch  which  is  marvelous. 

HIGH  AND  LOW  RELIEFS— TERRA-COTTA 
FIGURINES 

14.  Archaic   Art. — The    sculpture   of  Greece  de-VII  and  VI 
veloped  more  slowly  than  the  art  of  painting,  which        B.  C. 
advances  with  comparative  rapidity.      In  the  seventh 

century  B.  C.  the  plastic  arts  give  more  information 


12  THE    SCULPTURED    AND    PAINTED    FIGURES 

on  the  subject  under  consideration  than  do  the  ceramic 
paintings ;  and  there  is  no  doubt  that  the  frescoes,  their 
models,  lost  to  us,  were  their  masterpieces.  The  char- 
acteristic common  to  the  early  period  of  Greek  is  the 
rigidity,  often  the  awkwardness,  of  the  movements  of 
the  figures.  Of  the  antique  wooden  statues,  rigid  idols, 
there  are  great  numbers  remaining.  These  were  suc- 
ceeded by  the  gods  of  marble,  which  present  an  ap- 
pearance of  greater  suppleness.  Only  in  the  sixth 
century  B.  C.  did  the  sculptors  begin  to  detach  the 
arms  from  the  body  and  show  a  space  between  the  legs 
to  indicate  that  the  figure  was  walking.  At  the  com- 
mencement of  the  fifth  century  B.  C.  the  technique  is 
already  studied,  and  takes  on  the  character  of  the  work 
of  the  first  years  of  the  succeeding  century.  Though 
the  name  Archaic  has  fastened  itself  to  these  statues, 
they  are  as  truly  masterpieces  as  the  works  of  the 
period  following. 

Of  the  sculptured  figures  of  which  this  study  will 
have  occasion  to  speak  are  the  following  types: 

The  statues  of  men  who  step  on  the  left  foot. 

The  metopes  of  Selinonte. 

The  small  bronzes  of  Dodone. 

The  colored  statues  of  women  from  the  Acropolis, 

The  temple  of  the  Harpies, 

The  bas-reliefs  of  Thasos. 

The  Mgean  pediments. 

The  movements  of  the  figures  are  generally  simple, 
but  the  themes  are  many;  there  are  different  types  of 
the  walk  and  the  run ;  poses  and  gestures  that  are 
conventional  (gestures  with  the  veil  and  gestures  with 
the  tunic,  for  example),  which  become  the  true  formu- 
las which  persist  throughout  all  Greek  art  (43,  44)  ; 
files  of  persons,  scenes  of  combat,  etc.,  these  are  the 
principal  motifs  of  archaic  art.  The  dance  is  not 
directly  related  to  these  movements,  but  its  forms 
are  affected  by  them. 


HIGH    AND    LOW    RELIEFS TERRA-COTTA    FIGURINES  13 

At  the  end  of  the  sixth  century  B.  C.  and  at  the 
beginning  of  the  fifth,  there  appear  plaques  of  terra- 
cotta which  are  true  reliefs  and  are  not  to  be  con- 
founded with  the  painted  ones  of  the  same  period. 
The  scenes  are  the  mimic  funeral,  the  dances  executed 
by  the  courtesans,  who  shake  the  castanets,  and  which 
bear  witness  to  the  advance  made  by  the  artists  who 
work  in  clay ;  this  advance  was  due  to  the  ease  with 
which  the  medium  could  be  handled.  But  the  figurines 
of  terra-cotta  remain  always  the  coarser. 

15.  Kalamis,     Myron,     Polycletus,     Paeonios,     and  V 
Phidias — The  fifth  century  B.  C,  when  art  reached  ita\    B.  0. 
highest  point,  was  a  time  of  deep  religious  sentiment.     \\'-^^^ 

The  principal  works  were :  J^ 

The  pediments,  metopes,  and  friezes  of  the  Parthe- 
non. 

The  pediments,  metopes,  of  Olympia, 

The  Phigalian  frieze. 

The  Nike  of  Pceonios. 

The  frieze  of  Victor^/  at  Athens, 

The  dancers  of  Herculaneum. 

The  technique  had  by  that  time  attained  perfection, 
and  the  movements  became  more  daring;  they  always 
preserve  a  certain  nobility  of  which  it  would  be  diffi- 
cult to  speak  too  strongly.  The  corteges  slowly  file 
past,  the  plastic  dances  executed  by  beautiful  young 
women — but  these  are  not  the  only  dance-movements 
interpreted  by  the  sculptors  of  the  fifth  century  B.  Cw 
Sometimes  the  dancers  whirl  about,  flinging  their  tunics 
into  the  air,  so  that  they  take  on  the  gracious  curves 
of  a  swallow  in  flight.  (268.)  Paeonios  makes  his 
Victory  dart  into  the  air  with  a  freedom  that  has 
never  been  surpassed. 

The  terra-cotta  figurines  of  the  fifth  century  B.  C. 
reflect  the  severe  style  of  the  great  statues. 

16.  Scopas,  Praxiteles,  and  Lysippus. — ^Art  becomes         IV 
more  sensuous,  more  realistic.     Grace  has  been  substi-         B.  0, 


14  THE    SCULPTURED    AND    PAINTED    FIGURES 

tuted  for  the  noble  severity  of  the  preceding  century. 
The  style  is  modified,  though  there  is  no  question,  as 
yet,  of  decadence.  In  Greece  art  changed  with  the 
years,  ceaselessly  transforming  itself. 

Principal  works: 

Frieze  and  statues  of  the  tomb  of  Halicarnassus. 

The  Menade  of  Scopas. 

The  Aphrodite  of  Praxiteles, 

The  Apoxyomene  of  Lysippus, 

The  Venus  of  Milo. 

The  Victory  of  Samothrace, 

The  choraic  monument  of  Lysicratus. 

The  disorderly  movements  of  the  Bacchic  dances 
are  absent  from  the  work  of  the  masters  of  the  fourth 
century  B.  C,  and  are  held  in  less  and  less  esteem  by 
the  sculptors  and  bronze-workers. 

The  series  of  Tanagra  figurines  of  terra-cotta  of 
the  fourth  century  occupy  a  conspicuous  place  in  the 
history  of  plastic  art.  Beyond  a  doubt  the  danc- 
ing figures  of  Tanagra  reflect  the  influence  of  the  great 
sculptors  of  the  same  period,  it  is  also  evident  that 
they  are  original  creations.  They  are  objects  with 
which  the  public  is  so  familiar  that  it  is  unnecessary  to 
speak  at  length  regarding  them, — the  daintiness  of 
their  treatment  is  proof  enough  that  they  were  not 
copies  of  more  pretentious  works.  Also,  the  little  fig- 
ures of  baked  clay  show  that  their  makers  took  advan- 
tage of  the  ductility  of  the  material  to  escape  the  limits 
otherwise  imposed  upon  sculptors.  It  is  to  be  noted 
that  the  sculptures  of  the  third  century  B.  C,  while 
fanciful,  never  go  too  far,  but  that  their  modelers 
aimed  to  arrest  one  perfect  moment,  to  fix  and  hold 
the  charm  of  its  spirit.  These  moments  are  existent  in 
a  thousand  and  one  scenes, — young  girls  playing  ball, 
coquettes  who  turn  backward  as  though  looking  at 
some  one,  veiled  women  who  lightly  fling  their  tunics 
in  the  air.      Nothing  could  be  more  elegant  or  more 


HIGH    AND    LOW    RELIEFS TERRA-COTTA    FIGURINES  15 

chaste  than  these  refined  dancers,  whose  movements  have 
no  sensual  qualities.  They  are  just  young  women  who 
dance  because  they  are  gay  at  heart. 

17.  Hellenistic  Period. — In  the  fourth  century  B-  C.   Ill  and  II 
the  movement  is  sober  and  restrained ;  in  the  third  it  is         B.  0. 
slightly  exaggerated,  and  virtuosity' is  the  latest  art 

term.  The  school  of  Athens  strives  to  preserve  the 
classic  forms,  but  the  Asiatic  schools,  Rhodes,  Perga- 
mus,  are  suspected  of  too  novel  tendencies.  The  art 
of  Alexandria,  though  more  eclectic,  is  less  violent; 
Alexandria  is  a  city  of  learning.  The  picturesque  bas- 
reliefs,  the  decorative  pictures,  possess  an  elaboration 
of  detail,  pushed  to  the  extreme,  which  is  the  keynote 
of  the  art  of  Alexandria. 

The  principal  works : 

The  frieze  of  Pergamus, 

Laocoon, 

The  Farnese  Bull. 

The  greatest  pieces  of  sculpture  now  in  existence 
include  but  few  examples  of  dance-movements,  but  the 
complex  rhythm  of  gesture  suggests,  in  a  manner,  the 
gymnastic  of  the  dancers. 

On  the  other  hand,  in  the  terra-cotta  figurines  made  in 
Myrina,  Smyrna,  Tarsus,  Ephesus,  Milos,  Alexandria, 
and  Cyrene,  dance  subjects  abound.  Nike  dances, 
Satyrs,  Bacchants,  Eros-bacchants ;  dancers  turning 
and  twisting  their  veils  ;  figures  swaying,  etc.     It  is  a  j 

sensual  dance,  in  a  period  given  over  to  the  cult  of 
Aphrodite  and  Dionysos,  which  takes  the  place  of  the 
cult  of  the  higher  gods  of  the  fifth  century  B.  C. 

18.  In  the  first  century  B.  C.  there  is  a  reaction,  I 
a  return  to  the  classic  tradition  of  the  Athenian  school.         B.  C. 
There  appears  a  genius  named  Praxiteles,  whose  work 

has  all  the  nobleness  of  the  earlier  Greek  work.  But 
he  and  his  followers  are  not  content  to  be  inspired  by 
the  spirit  of  the  ancients,  they  would  themselves  origi- 
nate a   form   of   art.      So   much   do   they   admire   the 


16  THE    SCULPTURED    AND    PAINTED    FIGURES 

antique  that  they  elaborately  copy  the  stiffness  and 
archaic  quaintness;  but  theirs  is  only  a  pretense.  It 
is  not  always  easy  to  distinguish  between  the  old  and 
the  new. 

There  is,  however,  one  peculiarity  by  which,  in  many 
cases,  the  archaic  work  can  be  known.  The  persons 
all  walk  on  the  half-toe  in  the  copies.  This  pose  is 
seldom  seen  in  the  more  ancient  art. 

The  terra-cotta  figurines  disappear  with  the  second 
century  B.  C,  but  the  industry  of  the  modelers  reap- 
pears in  another  form  in  the  first  century  B.  C.  The 
bas-reliefs  made  in  Italy,  and  quite  often  in  the  "ar- 
chaisant"  style,  furnish  some  beautiful  examples  of 
dancers ;  Satyrs  and  Menades  go  wild  with  Bacchic 
frenzy,  the  dashers  dance  in  armour,  vine-growers 
tread  out  the  grapes  to  cadences. 

INTERPRETATION  OF  THE  FIGURES 

19.  The  Restorations — Of  all  the  Greek  art  relics,  only  a  few 
of  these  fragile  vases  and  terra-cottas  remain,  most  of  these  more 
or  less  defaced  by  time  and  the  hand  of  man,  and  they  are  to  be 
highly  prized.  From  them  it  is  possible  to  reconstruct  the  Greek 
funeral,  even  as  they  themselves  have  been  buried  in  the  earth. 
They  are  historical  documents  as  well  as  objects  of  art  which  call 
on  us  to  admire  them.  The  methodical  excavations  already  fruit- 
ful, give  us  reason  to  believe  that  many  questions  will  be  answered 
as  they  proceed;  it  may  be  that  the  Greek  funeral  ceremonies  will 
be  revealed  in  full. 

The  statues  have  suffered,  though  they  were  solid  and  resistant; 
exposed  to  the  air,  they  rapidly  disintegrate,  because  of  atmospheric 
conditions.  In  the  confined  air  of  the  temples  they  have  more  often 
been  broken  by  being  thrown  down  from  their  places.  But  the 
worst  outrages  are  due  to  an  ignorant  population,  which  had  de- 
stroyed the  things  it  could  not  appreciate,  and  was  incapable  of 
making;  the  worst  mutilations  of  the  antiques  have  been  the  inten- 
tional work  of  man.     To-day,  the  fragments  exhumed,  are,  some  of 


INTERPRETATION    OP    THE    FIGURES  17 

them,  proved  to  be  forgeries.  It  is  an  absolute  rule  among 
archaeologists  that  a  forgery  must  be  detected,  and  every  new  ac- 
quisition is  vouched  for  as  far  as  the  honesty  of  the  savant  can 
determine  it.  Formerly,  the  "broken  pots"  did  not  appeal  to  the 
amateurs  of  antiques  any  more  than  the  statues  without  heads  or 
the  heads  minus  noses. 

Demand,  then,  that  the  galleries  of  sculpture  in  the  Louvre  give 
up  their  secrets  of  the  antique  Greek  dance.  Discover  for  yourself, 
not  at  some  far-off  place,  the  glorious  goddess  who,  alas !  has  lost 
both  her  arms, — the  two  laughing  Satyrs  who  express  joy  in  every 
line.  They  dance,  their  feet  are  clad  in  strange  shoes,  their  heads 
are  posed  forward,  and  they  look  on  the  ground,  as  dancers  often 
do,  one  of  them  plays  upon  cymbals.  Behold  these  two  precious 
moments  of  the  Greek  dance:  movements  of  the  legs,  of  the  head, 
the  arms,  the  torso,  all  to  the  accompaniment  of  instruments.  The 
presence  of  the  kroupezia,  enormous  sandals  of  wood  and  barbed 
with  iron,  is  clearly  revealed  by  the  pose  of  the  dancers;  these  odd 
shoes  were  used  to  mark  the  divisions  of  the  step  and  interest  the 
ear  as  well  as  the  eye  of  the  spectator. 

It  will  be  well  to  make  a  list  of  these  works.  The  dancing  Satyrs 
have  already  been  mentioned. 

A  beautiful  marble  statue  of  Parian  marble. 

Head  badly  posed,  the  chi/n,  the  lips,  the  nose,  and  part  of  the 
front  of  the  neck,  the  left  arm,  both  legs  and  trunk  are  modern, 
but  the  right  arm  is  antique. 

Of  the  other  Satyr,  Parian  marble,  it  is  said: 

Head,  antique,  approaching  and  yet  seeming  to  retreat,  a  strange 
and  bewildering  attitude  to  find  in  a  statue.  The  modern  parts 
are  the  right  forearm,  the  hands,  the  right  foot,  the  left  foot  and 
part  of  the  leg. 

You  will  learn  little  from  the  Satyrs,  and  that  little  will  be  from 
the  torsos. 

20.  In  this  manner  were  the  "restorations"  of  the  museums  car- 
ried into  effect!  In  this  condition  is  "antique  art"  offered  to  the 
public  for  its  admiration!  Since  that  time  they  have  renounced 
the  falsifications  which  the  Renaissance  declared  proper  and  neces- 
sary.   While  it  is  a  matter  for  regret  that  those  who  destroyed  the 


18  THE    SCULPTURED    AND    PAINTED    FIGURES 

statues  were  inspired  by  a  sort  of  sacrilegious  courage,  is  it  not, 
even  more,  a  matter  for  sorrow  that  these  antique  fragments  have 
served  as  the  pretext  for  so  many  fantastic  "restorations"  on  the 
part  of  modern  sculptors?  A  parallel  effect  has  made  our  national 
museum  a  vast  necropolis. 

Here  are  a  few  facts  regarding  the  manner  of  making  these 
restorations.  They  mould  plaster  casts  of  the  antique  fragments, 
add  whatever  new  parts  they  see  fit,  just  as  long  as  they  can  get  a 
rib  of  one  great  statue  or  a  foot  of  another,  or  even  a  piece  of 
drapery,  using  this  as  a  motif  to  indicate  what  they  imagine  the 
rest  to  have  been  ! 

Dr.  Treu,  conservator  of  the  Museum  of  Sculpture  in  Dresden, 
has  not  hesitated  to  undertake  a  work  so  delicate,  but  his  results 
have  been  much  better.  He  has  the  statues  reconstructed  by  pure 
hypothesis,  but  is  careful  to  leave  the  fragments  of  ancient  work 
loose,  so  that  they  can  be  removed,  thus  leaving  the  relic  in  exactly 
the  state  it  was  before  the  restoration  was  made. 

But  in  other  museums  the  works  are  denatured  by  the  additions. 
The  curators  have  awakened  to  this  deplorable  state  of  affairs,  but, 
up  to  this  time,  they  have  seen  no  way  to  better  them. 

21.  The  closest  attention  is  necessary  when  reading  an  essay 
on  antiques  or  studying  them  at  first  hand.  That  which  is  at  hand 
is  all  too  likely  to  be  accepted.  The  industry  of  making  forgeries 
has  been  going  on  for  years,  and  the  first  task  of  an  archaeologist  is 
to  watch  carefully  for  "discoveries"  made  by  the  merchants  of 
terra-cotta  figurines.  It  is  quite  easy  to  fabricate  a  vase  or  figurine, 
but  the  specialist  in  antiques  must  watch  for  differences  in  the  color 
of  the  patina,  the  glaze,  etc.  Terra-cotta  figures  can  be  made 
very  nearly  perfect,  and  it  is  not  always  possible  to  convict  the 
fraud. 

Some  of  the  vases  of  the  Campana  collection  have  been  retouched, 
and  it  is  difficult  to  remedy  these  mistakes  without  danger  of  spoil- 
ing the  whole  painting.  Respecting  some  of  the  other  terra-cottas 
shown  in  the  galleries,  they  challenge  examination,  each  and  every 
one  showing  that  it  is,  beyond  a  doubt,  authentic  and  original. 
These  things  have  been  catalogued  in  such  a  way  that  no  attention 
has  been  paid  to  periods. 


INTERPRETATION    OF    THE    FIGURES  19 

The  era  of  "restorations"  is  over,  but  it  lasted  long  enough,  and  it 
was  fruitful  enough. 

22.  Errors  and  Conventions  of  Design. — It  is  not  sufficient  to 
be  assured  of  the  authenticity,  of  the  sculptures,  there  was  faulty 
work  in  the  past,  and  it  is  of  value  as  indicating  the  fancy  of  the 
decorators,  and  it  furnishes  exact  pictures  of  the  Positions  and  the 
Movements, — in  truth,  they  speak  more  loudly  than  words. 

In  ancient  Greece,  all  the  world  danced,  although  all  the  world 
were  not  dancers.  The  technique  of  the  dance  was  very  simple, 
otherwise  it  would  not  have  been  acquired  by  any  except  the  initiates. 
To  understand  and  translate  the  dancing  movements  it  is  not  enough 
to  note  the  management  of  pencil  and  clay,  as  that  would  still 
leave  the  student  wanting  in  practical  knowledge.  The  conditions 
imposed  upon  the  ceramists  made  it  impossible  for  them  to  repro- 
duce certain  points  with  exactness.  Often,  therefore,  they  mixed 
their  own  fancies  with  the  facts  before  them,  partly  to  cover  their 
ignorance  of  perspective.  Also,  the  object  was  to' make  a  decorative 
design,  not  an  exact  copy  of  the  scene  before  their  eyes.  Still, 
there  were  traditions  which  were,  for  canonical  reasons,  always  re- 
spected. The  artists  disliked  absolute  symmetry,  and,  in  all  ages, 
they  sacrificed  equilibrium  to  decorative  design. 

The  more  they  respect  the  traditions  of  the  dance  the  less  likely 
they  are  to  give  an  exact  copy  of  what  they  see. 

23.  They  are  equally  at  fault  in  certain  conventions  of  perspect- 
ive, which  often  leads  the  modern  spectator  astray  regarding  the 
movement  depicted.  These  conventions  may  be  put  down  to  the 
inexperience  of  the  artists. 

24.  On  the  greater  number  of  the  vases  the  floor,  or  ground, 
upon  which  the  figures  stand,  is  not  indicated ;  the  figures  approach 
one  another  as  though  they  were  all  on  the  same  plane,  though  their 
positions  show  that  they  are  not.  Thus  it  comes  that  the  painters 
disposed  the  figures  as  though  they  were  on  two  floors,  one  above 
the  other ;  the  result  is  that  some  appear  to  be  leaping  higher  than 
human  beings  possibly  could  leap,  but  are  still  poised  on  the  soles 
of  their  feet. 

25.  The  paintings  never  show  the  human  face  in  full-face  view, 
but  always  in  profile.     The  legs  are  also  in  profile,  one  behind  the 


so  THE    SCULPTURED    AND    PAINTED    FIGURES 

other,  as  in  the  Egyptian  statues  and  pictures.  Often  the  body  is 
presented  in  full-face,  as  is  also  the  Egyptian  custom.  Fig.  Ill 
exhibits  these  characteristics.  The  direction  of  the  run  is  clearly 
indicated.  , 

To  correctly  interpret  the  relative  position  of  each  part  of  the 
body,  consider  that  the  torso,  the  arms  and  the  head  belong  to  a 
person  who  is  running  in  the  direction  of  the  observer,  with  the 
torso,  arms,  and  head  all  carried  as  one  toward  the  left,  having 
made  a  quarter-circle.  A  proposed  image,  substituted  as  an  ideal 
representation,  would  be  as  follows : 

Torso  seen  from  the  right  side,  in  profile. 

Arms  extended,  palms  to  the  right,  and  fore-shortened. 

Head  full-face,  seen  from  above,  and  fore-shortened- 

Legs  at  rest. 

26.  Not  to  generalize  too  much  as  to  the  preceding  figure,  or  to 
carry  too  far  the  kind  of  correction  of  which  it  is  an  example,  let 
it  be  said  that  it  is  no  result  of  total  ignorance  of  drawing  that 
made  this  artist  pose  it  just  as  it  stands.  It  is  the  result  of  careful 
observation.  On  a  very  celebrated  antique  vase  with  black  figures, 
known  as  the  Fran9ois  vase,  one  may  note  a  similar  convention.  The 
subject  is  a  dance  of  Theseus  around  the  Minotaur.  Young  men 
and  young  women,  intermingled,  are  formed  in  file,  holding  each 
other  by  the  hand.  While  the  leader  of  the  dance,  who  is  inde- 
pendent of  the  chain,  is  presented  entirely  in  profile,  all  of  the 
other  dancers,  from  the  necessity  of  their  relative  position,  are  in 
full-face.  This  painting  is  a  perfect  example  of  the  twists  imposed 
on  these  personages.     (350  and  Fig.  571.) 

27.  The  Bacchants  often  have  the  head  hanging  forward  or 
bent  backward;  this  is  a  sign  of  the  frenzy  of  the  ritual  (400). 
Sometimes  the  painter  intentionally  makes  the  torsos  of  Menades 
or  Satyrs  face  the  spectator,  while  the  head  is  bent  backward,  which 
may  seem  a  hard  blow  to  perspective,  and,  though  they  are  fore- 
shortened, the  head  is  reversed  in  profile.     (Figs.  118,  119,  B.) 

When  the  head  is  hung  forward  the  painter  eludes  the  difficulty 
by  hiding  the  face,  allowing  only  the  top  of  the  head  to  be  seen, 
the  head  being  abruptly  pitched  forward  on  the  chest  at  about  a 
quarter-circle,  and  the  profile  bent  downward.     (Fig.  111.) 


INTERPRETATION    OF    THE    FIGURES  21 

28.  That  certain  statuettes  show  this  exceptional  position,  proves 
that  it  was  not  adopted  by  the  painters  merely  through  bad  de- 
signing.    (Fig.  136.) 

29.  The  bas-reliefs,  both  archaic  and  the  later  copies,  often 
present  the  same  conventions  as  the  vases,  torso  facing,  arms  ex- 
tended, right  and  left,  head  and  legs  in  contrasting  profile  view. 
There  is  one  other  convention  which  persists  in  appearing  on  all 
the  bas-reliefs  of  the  sixth  to  the  third  centuries  B.  C. 

In  the  sixth  century  B.  C.  the  statues  in  the  round  walk  on  the 
left  leg.  This  cannot  be  always  by  accident  of  design ;  the  constant 
use  of  the  pose  points  to  intention.  Much  later,  this  convention  is 
lost,  and  the  figure  advances  sometimes  on  one  leg,  sometimes  on  the 
other.  The  bas-relief  of  archaic  date  escapes  the  formula  of  the 
sinister;  there  is  a  sort  of  rule  adopted  foi:  bas-reliefs  of  the  fifth 
century  B.  C. :  the  leg  carried  forward  is  always  the  left  when  the 
marcher  is  turned  toward  the  right  of  the  spectator,  and  always  the 
right  when  he  is  turned  toward  the  left.  There  are  exceptions,  but 
these  are  readily  explained  by  the  technical  requirements.  It  would 
seem  that  the  sculptor's  logic  impelled  him  to  show  the  personages  in 
an  equilibrium  whiijh  changed  its  form  according  to  the  direction  of 
the  walk,  so  as  to  keep  both  the  legs  in  sight.  The  examples  furnished 
by  the  frieze  of  the  Parthenon  are  characteristic.     (Figs.  21,  596.) 

The  same  conventional  treatment  is  found  to  be  applied  to  the 
figures  of  the  Victory  Aptere,  of  Phagalias,  of  Trysa,  of  Pergamus. 
Only  at  the  end  of  the  Hellenistic  period  and  in  the  Roman  epoch 
do  the  sculptors  break  away  from  a  tradition  which  had  the  force 
of  authority,  to  show  their  figures  in  a  pose  that  permitted  them 
to  turn  their  backs  to  the  spectator. 

30.  It  is  really  far  from  easy  to  make  this  matter  clear  in  a 
lecture.  If  the  interpreter  is  to  be  accurate,  it  becomes  necessary  to 
note  the  causes  of  deterioration  to  which  the  movements  are  ex- 
posed, whenever  the  Greek  artists  resorted  to  artifices  to  transform 
them  for  decorative  purposes.  In  default  of  a  rule  that  will  hold 
good  at  all  times,  the  only  safe  way  is  to  reserve  decision. 

31.  The  proof  of  these  deductions  lies  in  the  figures  themselves. 
The  Greek  artists  used  their  eyes.  With  a  bit  of  clay  and  a  few 
theories  they  fixed  the  most  elusive  moments.     Compare  their  work 


S2  THE    SCULPTURED    AND    PAINTED    FIGURES 

with  the  photographs   of  modern  dancers,   and   see  how   correctly 
they  expressed  the  things  before  their  eyes. 

It  thus  becomes  possible  to  draw  true  conclusions  as  to  the  Steps 
and  Tempos,  tlirough  the  great  numbers  of  representations.  It  is 
quite  possible  to  get  a  very  clear  idea  of  what  the  Greek  dance  was 
like,  in  its  grammar  and  traditions. 

32.  It  would  not  be  possible  to  make  a  complete  catalogue  of 
the  ancient  figures  in  dancing  positions.  By  selection  and  elimina- 
tion, choosing  sometimes  the  painted  vases  and  sometimes  the  re- 
liefs, sometimes  the  ones  that  are  less  good  from  an  artistic  stand- 
point, we  may  gain  most  precious  knowledge  of  the  dances. 

From  the  point  of  view  of  this  study,  it  is  not  permitted  to  pro- 
ceed with  too  close  adherence  to  chronology,  through  the  diverse 
scenes  of  Greek  art  with  any  hope  of  following  the  transformations 
through  which  the  dance  passed.  To  get  any  true  vision  of  the 
whole,  they  must  be  considered  en  masse,  and  then  separated  into 
groups,  each  containing  figures  of  certain  marked  characteristics. 
How  else,  when  there  are  six  centuries  of  painting  and  sculpture? 
The  student  may  ask  if  there  be  not  danger  of  confusion  in  using  a 
common  title  for  arts  so  different.  This  is  unlikely,  and,  in  default 
of  a  better  system,  it  will  be  adopted.  Without  invoking  the  con- 
tinuity and  persistence  of  the  antique  traditions,  of  which  this 
modest  essay  furnishes  some  new  examples,  we  find  remarkable  de- 
tails, by  following  the  history  of  the  movements  of  the  Greek  dance. 
The  search  will  be,  not  so  much  to  follow  the  changes  in  the  type 
of  the  dances  as  to  arrive  at  an  understanding  of  the  gymnastics 
used  in  their  preparation. 

The  first  part  of  this  study  will  be  to  obtain  an  answer  to  this 

question : 

*  J^         What  were  the  methods  used  in  the  dances  of  the  Greeks? 

u/        33.     Evidently,  this  is  not  the  point  of  the  entire  dance.     With 

|>  VV     us  modern  people,  the  art  of  the  dance  and  the  art  of  acting  are 

:     J     separated,  which  was  not  the  case  with  the  Greeks.     With  them,  the 

)A.     association  was  constant.     Dancing  was  not  merely  a  pretext  to 

Xl     move  to  a  certain  rhythm,  to  fall  into  elegant  poses  connected  by 

K     beautiful  movements.    The  dance  was  more  than  a  pretty  gymnastic ; 

\      it^was  a  language.     They  created  a  pantomime  that  is  properly  so 


TRADITIONAL  GESTURES   SHOWN   BY  PAINTINGS  AND    SCULPTURES  23 

called,  in  that  it  possessed  mimetic  meaning;  by  symbolic  gestures, 
the  dance  conveyed  a  meaning,  though,  in  some  instances,  the  move- 
ments appeared  to  have  no  order.  To  penetrate  to  the  spirit  of  the 
Greek  dance,  we  must  look  at  it  with  their  eyes. 

The  modern  dance  is  our  term  of  comparison.  Reduce  the  Greek 
dance,  for  purposes  of  simplification,  to  the  same  limits.  In  a 
sense,  this  is  to  belittle  it, — to  deprive  it  of  its  mimetic  character. 
But  by  this  means  we  get  a  better  idea  of  its  gymnastics.  From 
this  point  of  view,  it  escapes  the  changes  wrought  by  time;  the 
mechanism  is  seen  to  be  always  the  same.  All  through  the  ages, 
they  use  the  same  kind  of  mechanics ;  on  this  ground  alone  dare  we 
consider  the  Greek  dance  as  a  whole,  and  consider,  one  by  one,  the 
diverse  elements  introduced  by  time. 


THE    TRADITIONAL    GESTURES    AS    SHOWN    BY    THE 
FIGURES  OF  THE  PAINTINGS  AND  SCULPTURES 

34.  One  searching  through  the  relics  of  Greek  art  for  traces  of 
the  Greek  dance  is  exposed  to  the  dangers  that  await  all  investi- 
gators;  he  discovers  too  many  objects  suitable  for  study.  Granted 
:hat  it  would  be  a  mistake  to  class  all  of  these  figures  as  dancers; 
Plato,  Lucien,  Athennus, — to  cite  the  three  authors  most  useful  to  a 
student  of  the  history  of  the  dance, — all  speak  of  it  as  the  art  of 
speech  by  means  of  gesture.  It  follows^  \h^^  ^^^  scenes  shown 
often  do  represent  dances,  at  least  in  the  broader  meaning  which 
the  Greeks  gave  the  word.  When  the  figures  are  isolated,  as  in 
many  pieces  of  sculpture,  they  often  show  that  they  were  directly 
inspired  by  the  dance.  The  sculptors  went  to  the  public  exhibitions, 
and  there  studied  the  attitudes  of  the  dancers,  and,  later,  repro- 
duced them  in  their  masterpieces.  Afterward,  the  dancers,  in  their 
turn,  copied  the  poses  of  the  statues.  ^  To  this  mutual  exchange, 
then,  we  owe  the  vast  number  of_dancing  figures  that  appear  in 
sculpture. 

But,  as  already  stated,  the  study  of  the  gymnastics  of  the  dance 
must  be  kept  separate  from  the  mimetic  and  gestural  side  of  the 
subject.     Between  the  two  it  is  not  always  easy  to  distinguish  the 


24  THE    SCUIiPTTTRED    AND    PAINTED    FIGURES 

difference,  as  the  superficial  aspect  of  the  purely  gymnastic  move- 
ment may  be  the  same,  to  all  intents  and  purposes,  as  the  move- 
ment that  has  mimetic  value.  It  will  be  well  to  compare  the  figures 
1  to  10.  In  order  to  avoid  mistakes  a  dividing  line  should  be 
drawn  by  making  a  list  of  the  traditional  gestures  which  persist 
throughout  all  Greek  art. 

35.  Greek  art  is,  above  all  else,  a  thing  of  change.  It  ceaselessly 
renews  itself,  transforming  its  technique  by  means  of  new  themes. 
Political  revolutions  and  religious  innovations  as  much  as  progress 
in  art  itself,  serve  to  modify  it.  Accordingly,  the  force  of  tradition, 
while  permitting  many  changes  in  the  course  of  seven  or  eight  cen- 
turies, yet  holds  as  far  as  fundamentals  are  concerned.  This  is  to 
be  attributed  in  part  to  the  formalism  of  religious  ritual,  as,  in  the 
antique  religion,  each  gesture  had  its  own  meaning  which  was  piously 
preserved.  The  jyistomsw^reql^too  ancient  origin  to  remain  al- 
ways the  same,  but  in  private  life  the  change  was  less  than  in  the 
more  public  ceremonies.  IXeapite_£olitical_commotions,  the  Greeks 
did  not  break  with  the  past,  that  is,  the  soul  of  Hellenistic  thought. 
Art  advances,  step  by  step,  always  curious  to  find  something  new, 
but  always  retaining  the  old.  Are  the  copies  made  by  one  artist 
after  another  surprising?  The  efforts  of  each  profited  all.  Each 
masterpiece  was  the  common  good  fortune,  and,  changed,  repeated, 
transformed,  it  added  to  the  glory  of  all.  Was  it  not  enough 
for  an  artist  to  contribute  some  delicate  nuance  to  the  art 
which  belonged  to  all  alike?  This  spirit  is  found  throughout 
all  centuries,  and  accounts  for  the  endless  repetitions  and  minor 
changes. 

36.  All  of  the  gestures  have,  primarily,  a  concrete  significance. 
Some  of  these  meanings  are  always  retained;  others  change;  still 
others  lose  their  identity,  continuing  in  use  merely  as  decorative 
motifs.  But  the  essential  character,  however  varied  or  hidden,  can. 
be  discovered  in  the  initial  theme.  It  is  not  easy  to  determine  the 
exact  period  at  which  each  gesture  makes  its  first  appearance. 

37.  The  traditional  gestures  may  be  divided  into  three  groups : 
Gestures  that  are  ritual  and  symbolic. 
Gestures  of  every-day  life. 
Gestures  of  the  concrete  type  becoming  mere  decorative  motifs. 


Teaditional.  gestures  shown  by  paintings  and  sculptures 


Ritualistic  and  symbolic  gestures 


38.  Gestures  of  the  Divinities  Who  Dance. — These  are  very  an- 
cient, and  are  of  Oriental  origin.  The  naked  goddess  who,  with  her 
hand,  makes  the  milk  gush  forth,  the  whole  gesture  being  coarse,  is, 
in  the  Greek  version,  transformed  into  the  chaste  Aphrodite. 
Heuzey  (see  "Catalogue  of  the  Terra-cotta  Figurines  in  the  Louvre," 
Vol.  I)  discovered  the  evolution,  and  his  analysis  is 
often  cited. 

39.  Gesture  of  the  Chaste  Aphrodite. — Praxi- 
teles shows,  in  the  Aphrodite,  the  same  form  of  ges- 
ture as  the  Venus 
de  Medici  and  the 
Venus  of  the  Vat- 
ican ;  are  they 
copies  of  the  fa- 
mous lost  master- 
piece ?  The  ges- 
ture is  alike  in  all 
three  cases  and  the 
statues  are  nude. 
In  the  Roman 
period,  when  the 
figures,  though  draped,  hold  to  the  original  significance  of  the  move- 
ment, there  is  found  one  singular  defect  to  be  noted,  especially  in  the 
"Dancer"  of  the  Vatican,  which  is  a  mediocre  work. 

40.  Gestures  of  the  Worshipers. — This  is  one  of  the  most  com- 
mon forms  of  gesture,  and  consists  of  holding  the  arms  out  with  the 
palms  up.  The  praying  child  in  the  Museum  of  Berlin  (Fig.  2)  is 
of  this  type. 

41.  Gesture  of  the  Mimetic  Funeral. — This  is  a  striking  ex- 
ample of  the  transformation  of  an  abstract  movement,  purely  deco- 
rative, consequently,  a  dance-movement,  becoming  a  concrete  ges- 
ture. In  the  most  remote  times  (vases  of  Dipylon,  vases  of  Corinth) 
the  mourners  tore  the  hair  and  scratched  the  face  as  a  sign  of 
sorrow,  during  the  ceremonies  of  exposition  of  the  dead  and  the 
burial.     Little  by  little,  the  gesticulation  became  less  violent.     In 


Fig..  I, 


Piff.  2. 


26 


THE    SCULPTURED    AND    PAINTED    FIGURES 


Ihe  fifth  century  B.  C.  there  remains  only  the  imitation  of  the  cus- 
!oms  against  which  Solon  issued  an  edict.  Here  is  proof  that  the 
funeral  gestures  were  governed  by  ritual  and  that  a  study  was 
made  of  them.    '(363  to  370.) 

42.  Gesture  of  Untying  the  Sandal. — Type:  the  figure  (bas-re- 
lief) of  the  Victory  Aptere.  The  Nike  gesture  goes  beyond  that  of 
the  Aphrodite.  There  are  many  variants  of  it.  One  is  that  of 
taking  of  the  sandal.  Whether  this  gesture  be  symbolic  or  con-> 
crete,  it  marks  the  highest  tide  of  Greek  art.     The  goddess  rests  on 

one  leg,  the  other  being  lifted  to  enable 
her  to  put  her  hand  on  the  sandal. 
The  boldness  of  the  pose  suggests  that 
the  painters  designed  it  and  that  the 
sculptors  learned  it  from  them. 

43.  Gesture  of  the  Veil. — The 
ample  Greek  dress  permitted  a  woman 
wearing  it  to  make  of  it,  at  pleasure, 
a  dress,  a  cloak,  or  a  veil,  because  it 
was  simply  a  long  piece  of  cloth.  The 
gesture  of  the  veil  is  made  by  turning 
the  head  to  the  side  while  covering  the 
head  and  shoulders  with  the  fabric. 
In  the  fifth  and  fourth  centuries,  the  intention  of  the  gesture  is,  above 
all,  to  express  modesty;  the  veil  is  a  mobile  wall  behind  which  a 
woman  takes  refuge.  The  gesture  with  which  a  bride  removes  her  veil 
is  called  the  nuptial  gesture,  an  admirable  example  is  on  one  of  the 
metopes  of  Heraion  (14).  Facing  Zeus,  who  sits  upon  a  rock,  the 
divine  bride  stands  "with  opened  veil  held  with  exquisite  modesty. 
It  is  an  attitude  of  retreat ;  the  chaste  gesture  of  the  young  wife  who 
unveils  in  the  bridal  chamber"  (Collignon).  The  gesture  of  Latona 
"archaisant,"  in  the  Louvre,  bears  the  imprint  of  great  nobility, 
but  it  is  nothing  more  than  a  decorative  motif  (Fig.  3).  Graceful 
enough  in  itself,  it  is,  at  the  same  time,  absolutely  inexpressive. 

The  Aphrodite  Genitrix  of  Myrina  (17)  is  a  fourth  century 
B.  C.  type,  and  shows  an  early  concept  of  the  veil-gesture;  she  is  a 
chaste  goddess,  who  protects  herself  from  too  close  scrutiny  (Fig.  4). 
But  in  the^  third  century  B.  C.  the  veil  ceased  to  be   a  barricade 


r»g.  3. 


TRADITIONAL   GESTURES   SHOWN   BY   PAINTINGS  AND    SCULPTURES  27 

behind  which  to  hide;  the  drapery  of  the  Hellenistic  Aphrodite  is 
most  of  it  removed, — it  is  only  used  to  emphasize  the  nudity. 

The  expression  of  the  gesture  is  that  of  going  forward  and 
returning  (E.  Pottier).  The  great  days  of  the  dance-repertoire 
passed,  and  the  significance  of  the  motion  suffered  the  same  meta- 
morphosis as  the  arts  of  design.  Grave  and  chaste  in  the  fifth  and 
sixth  centuries  B.  C.  the  dancers  wno  used  the  veil  in  the  third  and 
second  centuries  B.  C.  made  it  an  accessory  of  lascivious  steps. 

Gestures  of  every-day  life 

44.  Gesture  of  the  Tunic. — This  motif  is  many  times  repeated 
in  the  paintings  and  sculptures,  and  is  one  of  the  earliest,  but  it 
is  used  down  to  the  latest  period.  It  is  a  gesture  that  is  instinctive 
when  a  woman  is  wearing  a  long  robe.  It 
consists  in  lightly  lifting  the  drapery 
with  the  hand,  thereby  leaving  the  feet  at 
liberty.  The  Greek  woman  made  the  ges- 
ture with  great  elegance,  gathering  up  a 
handful  of  the  fabric  at  the  back  to  keep 
it  from  touching  tht  ground  and  thus  be- 
coming soiled.  The  gesture  is  not  one  of 
coquetry,   used  to   make  the  walk  more  ^ 

attractive,   but  it  introduces   a  kind   of 

eurhythmy,  so  that,  when  it  ceases  to  be  a  gesture  of  utility,  it  is 
frankly  a  dance-movement  (Fig.  33,  Par.  50). 

Sometimes  the  arms  lift  the  plaits  laterally,  sometimes  forward, 
occasionally  backward,  now  and  then  they  are  held  close  to  the 
body.-  At  last,  the  movement  is  joined  to  a  turning  motion  of  the 
torso,  when  it  loses  all  its  original  meaning  and  becomes  merely 
an  artifice  of  the  dance  (Fig.  105).  Fig.  104  is  a  rare  com- 
bination of  the  turning  with  the  gesture  of  the  tunic. 

(Many  types  of  the  gesture  of  the  tunic  are  to  be  found  in  the 
first  volume  of  "Greek  Sculpture"  by  Collignon ;  reproductions  of 
the  archaic  statues  of  the  Acropolis,  among  others,  Plate  I;  figures 
illustrating  the  text,  pages  343  and  366.  They  are  of  the  same 
character  as  Figs.  33,  50,  102,  103,  104,  105,  106,  501,  etc.,  in  this 
volume.) 


^8 


THE    SCULPTURED    AND    PAINTED    FIGURES 


FJg.  5. 


It  will  be  seen  that  it  is  difficult  to  mark  the  limit  and  separate 
the  gesture  of  every-day  life  from  the  one  which  is  purely  a  dance- 
movement. 

45.  The  Masculine  Gesture  of  the  Arm  with  the  Cloak. — In  the 
fifth  and  fourth  centuries  B.  C.  this  gesture 
was  used  to  suggest  repose.  The  orators  of 
the  tribune  expressed  their  professional  dig- 
nity by  means  of  it.  At  the  opening  of  the 
third  century  B.  C.  it  lost  its  solemnity: 
the  roguish  Eros  of  Myrina  often  folds  his 
mantle  about  him  with  a  great  pretense  of 
gravity.  The  gesture  becomes  one  of  the 
more  frolicsome  kind  of  dancing  movements. 
The  noble  is  transformed  into  the  playful. 

46.  Gesture  of  the  Hand  on  the  Hip. — 
The  arm  is  more  or  less  retired.  More  re- 
cently, the  action  takes  on  an  appearance 
of  rapidity,  but  an  examination  of  the  Tan- 
agra  figurines  will  show  the  student  that 
that  period  is  characterized  by  a  dreamy  immobility.  It  is  a  gesture 
at  once  noble  and  familiar,  which  allows  great  elegance  in  the  gather- 
ing and  holding  of  the  drapery  (Fig.  5).  The  dancer  takes  a  gesture 
of  utility  and  imparts  to  it  a  high  degree  of 
beauty;  the  hand  on  the  hip  lifts  the  tunic,  holds 
the  dress,  and,  by  the  tension  of  the  material,  re- 
veals the  feminine  form  through  its  veils  (Fig. 
452). 

47.  Gesture  of  the  Athlete  Pouring  Oil  Over  His 
Body — One  arm  is  raised  and  curved  above  the 
shoulder;  the  hand  holds  a  vase  containing  oil; 
the  other  hand,  close  to  the  body,  is  held  as  though 
to  prevent  the  escape  of  the  liquid  (Fig.  6).  This 
gesture  is  not  to  be  confused  with  that  of  the 
"Pourer"  (52).  This  being  wholly  realistic  in 
treatment,  the  Povirer  being  more  decorative  in  effect, 

48.  Gesture  of  the  Athlete  Who  Rubs  His  Body  with  a  Strigil. 
Covered  with  the  dust  and  perspiration  of  the  conflict,  and  the  oil 


Fig.  6. 


TRADITIONAL    GESTURES    SHOWN    BY    PAINTINGS  AND    SCULPTURES 


29 


used  to  make  the  body  supple,  the  athlete,  who  has  just  come  from 

the  exercises   of  the  palestra,   rubs   his   skin  with   k  strigil.      This 

gesture,  which  Ljsippus  appears  to  have 

introduced  into  art  in  the  fourth  century 

B.  C,  is  not  easy  to  recognize;  the  fact 

that  the   small   scraper   cannot  be   seen, 

and  that  this  instrument  is  the  only  thing 

that   explains   the  movement  to  modern 

eyes  causes  uncertainty. 

49.     Gesture  of  the  Athlete  Who  Binds 
a  Fillet  About  His  Head. — Here  the  ges- 
ture is  also  made  without  the  accessory  that  explains  it.     Fig.  7  has 
all  the  air  of  a  dancer. 


Fig.  7. 


Concrete  gestures  becoming  decorative  gestures 

50.  Gesture  of  the  Arm  Bent  Above  the  Head. — Pottier  says  of 
this  gesture,  that,  in  the  fifth  and  fourth  centuries  B.  C,  it  ex- 
presses energy  of  the  combative  kind  (metopes  of  Olympia,  Par- 
thenon.  Tomb  of  Halicarnassus,  etc.)  ;  and,  as 
it  degenerates  from  its  primitive  meaning,  be- 
comes, m  the  Hellenistic  period,  the  gesture  of 
abandon,  of  complete  repose.  It  is  not  yet  a 
mere  decorative  convention,  but  is  full  of  ele- 
gance, though  somewhat  lacking  in  logic,  be- 
cause the  person  seems  to  be  asleep  with  one 
arm  supporting  the  head,  a  most  unstable  posi- 
tion. Of  the  same  kind  is  the  Faun  of  Mu- 
nich, who  is  heavy  with  wine,  like  the  Satyr 
of  Naples.  The  Ariadne  of  the  Vatican  has 
better  equilibrium,  although  the  gesture  of  the  lovely  sleeper  is  rather 
affected.  The  Niobe  at  Florence  is  more  sincere;  here  the  hands 
are  held  in  a  manner  that  suggests  dramatic  truth. 

The  gesture  of  the  wounded  Amazon  resembles  the  preceding,  as 
a  conventional  expression  of  suffering  (Fig.  8);  but,  by  an  inver- 
sion, the  same  thing  becomes  a  gesture  of  energy  in  the  primitive 
concrete  phasQt 


Fig.  8. 


30 


THE    SCULPTURED    AND    PAINTED    FIGURES 


51.  The  Gesture  of  the  Aphrodite  Anadyomene. — The  goddess 
wrings  her  hair  to  get  the  water  out  of  it  (Fig.  9).  Although  this 
is  essentially  a  concrete  gesture,  it  may  become,  according  to  the 
nature  of  the  subject  to  which  it  is  applied,  a  conventional  deco- 
rative motif.  In  this  case  it  is  not  merely  a  woman  drying  her  hair, 
but  a  goddess  coquetting  in  a  lackadaisical 
manner  with  her  arms. 

52.  Gesture  of  Pouring. — One  hand, 
holding  a  vase,  is 
lifted  in  order  to 
make  the  contents 
of  the  bottle  flow 
forcibly;  the  other 
hand  is  held  as  low 
as  possible  in  oppo- 
sition :  this  allows 
the  liquid  to  fall 
through  space  with 

a     beautiful     curve 
(Fig.  10,  Par.  151).     The  gesture  can  be  recognized  many  times 
where  it  is  used  as  a  mere  decorative  form,  having  quite  lost  its  orig- 
inal concrete  signification  and  become  a  dance-movement  (Figs.  152, 
584,  590). 

The  paintings  from  Pompeii  often  show  a  modified  form  of  the 
same  gesture  combined  with  a  play  with  the  veil  where  it  becomes  a 
convention. 

53.  This  list,  while  incomplete,  suffices  to  make  clear  the  part 
played  by  the  dancers  in  the  development  of  the  traditional  ges- 
tures. With  regard  to  the  mimetics,  the  gestures  were  the  same 
as  those  of  the  dance,  because  the  Greek  dance  recognized  the  art  of 
acting  as  a  part  of  the  art  which  comprised  dancing,  acting,  and 
music,  as  well  as  poetry ;  without  this  knowledge,  dancing  becomes 
merely  a  series  of  gymnastic  movements. 


Fig.  0. 


Fig.  10. 


THE  MOVEMENTS  IN  GENERAL 

Natural  movements.     The  walk  and  the  run 


54.  Mechanical  Movements — Among  the  movements  of  the  body 
that  depend  on  voluntary  action  and  which,  while  purely  mechanical, 
have  a  definite  aim,  there  are — walking,  running,  leaping,  vaulting, 
etc.  These  movements  are  instinctive,  and  always  retain  the  same 
form,  except  in  small  details  which  each  person  varies  according  to 
his  own  individuality. 

55.  Expressive  Movements :  Gestures. — Depending  upon  the  coop- 
eration of  the  mind  are  the  movements  which  interpret  the  thoughts, 
— ^which  are  the  medium  of  communication  with  other  persons.  These 
are,  properly  speaking,  gestures.  They  constitute  a  language  of 
infinite  variety;  they  are  less  hide-bound  than  words,  for  they  are 
manufactured  in  the  most  appropriate  form  by  the  user,  accord- 
ing to  the  needs  of  the  moment.  These  motions  are  called  expres- 
sions, as  opposed  to  mechanical  movements.  A  change  of  thought 
will  at  once  affect  the  bodily  position;  to  prove  this,  do  not  take 
the  studied  gesture  of  the  orator,  but  that  of  the  simple  peasant. 
You  will  be  struck  by  the  sobriety,  and,  many  times,  by  the  mobility, 
of  their  gestures.  If  they  are  lacking  in  precision,  they  express 
the  ideas  of  the  every-day  man.  Gesture  is  a  sort  of  physical  ideo- 
graph of  the  figure  in  the  mind. 

56.  It  may  be  well  to  note  here  that  conventions  are,  little  by 
little,  introduced  into  gesture.  It  is  clear  that  primitive  peoples, 
who  have  only  simple  ideas  to  express,  do  not  possess  the  riches  of 
gesture  of  the  more  intellectual  races,  with  whom  it  becomes  a  com- 
plex language  made  up  of  nuances.  Like  spoken  language,  it  has 
recourse  to  figures.  For  expressions  of  sudden  and  violent  explo- 
sion, do  we  not  bend  the  arm  with  fist  clenched,  and  strike  a  blow 
in  the  air.?  This  is  one  kind  of  metaphor.  What  does  the  spectator 
at  a  comedy  understand  when  one  of  the  characters  rubs  the  back 
of  his  hand.'^  It  is  a  metonymy.  Therefore,  gesture  becomes  an 
intellectual  instrument  by  which  the  person  impresses  his  mark  upon 
the  mind  of  another:  it  is  to  be  determined  which  gestures  are 
instinctive  and  imitative,  and  which  are  influenced  by  tradition  and 

33 


34  THE    MOVEMENTS    IN    GENERAX. 

custom.  For  instance,  the  famous  actors  of  Rome,  Pjlade  and 
Bathyelle,  being  pantomimists,  used  only  the  gestures  that  all  of 
their  audience  would  understand,  and  these  gestures  have  remained 
unchanged  to  this  day. 

57.  Dance  Movements — The  mechanical  movements  and  the  ex- 
pressive movements  or  gestures  are  clearly  separated,  in  our  time, 
as  far  as  they  concern  dancing,  but  this  was  not  the  case  with  the 
Greeks,  with  whom  the  dance-movements  were  neither  entirely  me- 
chanical nor  wholly  imitative.  The  young  animal,  says  Plato,  does 
not  remain  in  repose,  it  leaps,  it  runs ;  its  activity  never  ceases,  nor 
does  its  pleasure  in  it;  it  even  expends  its  superabundant  energy 
in  the  most  useless  movements.  In  this  there  is  a  resemblance  to 
man  in  the  dance.  But  while,  with  the  animal,  the  motion  is  due 
only  to  vitality,  with  man  there  is  also  an  enjoyment  in  the  sense 
of  rhythm,  of  harmonious  movement.  This  was  recognized  by  the 
directors  of  the  dance,  and  the  same  Greek  word  is  used  to  signify 
"joy"  and  "dance."  Though  this  etymology  suggested  by  Plato 
may  be  at  fault,  there  is  no  mistake  in  the  fact.  The  dance  is  more 
than  play,  it  is  an  exercise  of  the  body  which  is  embellished  by  art 
and  by  music,  in  their  rhythmic  elements,  and  they  are  its  indis- 
pensable auxiliaries. 

58.  That  all  the  dances  of  primitive  humanity  were,  in  their 
inception,  mimetic  would  seem  to  be  proved.  The  purely  gymnastic 
dances  are  a  later  development.  The  separation  is  complete,  even 
in  our  own  day,  between  the  dramatic  and  the  dance-movement, 
between  the  gesture  and  the  mechanical  movement.  We  attach  the 
same  value  to  the  same  signs ;  their  reason  for  existing  is  the  same, 
to  manifest  a  special  activity.  In  our  ballets  the  dance-scenes  are 
not  to  be  confused  with  the  dramatic  scenes ;  their  dramatic  action 
belongs  to  the  department  of  pantomime;  the  others,  characterized 
by  rhythm  and  the  precision  of  the  steps,  and  the  momentary  sus- 
pension of  dramatic  action,  are  intended  to  exhibit  the  talents  of  the 
dancers  and  to  show  the  public  a  brilliant  spectacle. 

The  separation  did  not  exist  in  the  Greek  dance  in  the  same  degree 
as  in  ours.  But  it  is  possible  to  discover  from  the  painted  and 
sculptured  figures  the  steps  of  the  dance  which  are  analogous  to 
ours,  and,  like  ours,  devoid  of  mimetic  meaning.     The   ritualistic 


THE    WALK  35 

symbolism  is,  of  course,  there,  partly  hidden,  for  the  Greeks  did  not 
permit  their  dances  to  become  mere  muscular  exercises.  Properly 
speaking,  the  mimetic  interposes  itself  into  every  movement  of  the 
Greek  dancer. 

59.  The  same  word  which  means  dance  and  ball-play  is  also  used 
to  designate  the  Pyrrhics,  which  were  the  reproduction  of  the  evolu- 
tions of  the  phases  of  combat.  It  was  used  to  describe  the  worthy 
citizen  who  celebrated  Komos,  and  the  professional  "who  spoke 
mutely,  and  expressed  everything  with  his  hands."  With  the 
Greeks  the  dance  was  an  art  much  more  highly  regarded  than  with 
us.  The  philosophers  attributed  to  it  a  moral  influence;  they 
said  that  "the  dance  is,  of  all  the  musical  arts,  the  one  that  most 
influences  the  soul.  The  arts  of  poetry,  music,  and  dancing  are 
divine  in  their  nature  and  are  the  gifts  of  the  gods."  They  are  not 
intended  alone  to  give  pleasure,  they  are  a  cult,  in  which  the  gods 
are  honored.  Therefore,  it  is  impossible  to  study  one  of  these 
witliout  the  others.  Instead  of  isolating  the  gymnastic  movements 
it  is  better  to  look  for  the  bond,  of  which  Plato  said:  "It  is  the 
intermediary  between  the  bodily  rhythm  and  the  soul,  and  it  is  the 
dance-gymnastic  which  teaches  eurhytlnny." — This  is  proof  that  they 
liad  a  dance-gymnastic,  and  it  is  no  less  certain  that  it  is  possible 
to  discover  it. 

THE    WALK 

''60.  Many  dances,  of  diff'erent  periods  and  diff*erent  localities,  are 
based  on  the  modifications  of  the  walk  and  the  run.  Sometimes  the 
dancer  follows  a  certain  rhythm  which  makes  the  walk  or  the  run 
in  itself  a  dance;  thus  a  simple  gymnastic  of  the  natural  order 
becomes  an  art. 

These  are  the  kinds  of  movement  most  used  by  the  Greek  dancers. 
It  is  not  rare  to  find  the  legs  employed  in  the  common  w^alking 
or  running  steps  while  the  arms,  torso,  and  head  are  in  repose. 
All  this  contrary  to  the  accepted  modern  ideas  of  dancing. 

Natural,  instinctive  movements  are  the  foundation  of  the  Greek 
^dance,  as  of  all  dances. 

61.     Mechanism  of  the  Walk. — The  mechanism   of  the  walk  is 


36 


THE    MOVEMENTS    IN    GENERAL 


complex.  Reduced  to  its  external  manifestation,  it  consists  of 
movements  of  extension  and  flexion  by  each  leg  in  turn,  so  managed 
as  to  hold  the  body  over  the  center  of  gravity.  When  modern 
painters  and  sculptors  represent  a  man  walking  they  show  one  leg 
bent  and  the  other  held  more  or  less  straight,  this  being  the  im- 

PG 


PD 


11. 


pression  produced  on  the  eye — a  combination  of  many  movements. 
In  reality,  the  phases  of  the  walk  are  less  simple ;  the  eye  is  deceived. 
Modern  photography  proves  that  the  Greeks  saw  more  correctly 
than  modern  people  do. 

62.  I.  In  the  normal  walk,  on  level  ground,  the  two  feet  are 
placed  on  the  ground  alternately/;  at  the  moment  when  the  rear  foot 
is  raised,  the  forward  one  rests  flat  on  the  ground.  The  diagram, 
arranged  by  Marey,  shows  clearly  how  the  feet  alternate. 

II.  The  foot  is  posed  on  the  ground  only  at  the  heel,  the  toe 
being  in  the  air  (Fig.  12,  2).  But  the  toe  is  immediately  lowered 
and  the  sole  of  the  foot  rests  on  the  ground.  As  the  body  is  pro- 
pelled forward,  the  heel  is  lifted,  describes 
a  quarter-circle  from  low  to  high,  the  foot 
not  touching  except  at  the  toe  (Fig.  12, 
3),  and  the  same  leg  is  then  lifted  and 
swung  forward.  In  two  words,  the  foot  is 
posed  on  the  ground  at  the  heel  and  quits 
it  at  the  toe.  It  is  a  sort  of  see-saw  move- 
ment, as  is  indicated  in  Fig.  12,  which  was 
made  by  superposing  three  images  cor- 
responding to  the  three  principal  move- 
ments,   and    taken    from    the    series    of 

photographs  shown  in  Fig.  14. 

III.  Consequently,  the  two  feet  of  the  walker  are  never  placed 
on  the  ground  at  the  same  moment,  neither  are  the  heels,  neither 
are  the  toes.  The  movements  of  the  legs  are  symmetrical  succes- 
sions. 


THE   WALK  37 

IV.  There  is  one  instant  when  the  two  feet  touch  the  ground, 
that  is  when  the  foot  forward  is  posed  ready  to  take  the  weight, 
and  before  the  rear  foot  is  lifted.  The  position  is  one  of  extreme 
instabihty,  as  may  be  seen  from  Fig.  13.  The  left  foot,  advanced, 
rests  the  heel  on  the  ground  (Fig.  12, 
1),  when  the  right  foot,  not  touching 
except  at  the  toe,  is  also  lifted  (Fig. 
12,  3). 

63.  Opposition  of  the  Arms  and 
Legs  in  Walking. — ^While  walking,  the 
arms  swing  freely,  the  general  condi- 
tion of  equilibrium  in  movement  keeps 
arms  and  legs  in  opposition,  as  per 
these  two  formulas. 

When  the  left  foot  is  advanced  the  Fig.  i3. 

left  arm  swings  backward. 

When  the  right  foot  is  advanced  the  right  arm  swings  backward. 

In  other  terms,  the  left  foot  and  the  right  arm,  the  right  foot 
and  the  left  arm:  Fig.  14  makes  clear  the  association  and  the 
opposition  in  movements  of  arms  and  legs.  It  is  from  photographs 
made  at  different  moments,  showing  successive  motions;  Fig.  12 
shows  the  same  thing  in  another  manner. 


Fig:,  14. 

The  ancient  ballet  masters  knew  and  used  the  law  of  opposition 
of  the  arms  and  legs  in  the  walk.  Noverre  (eighteenth  century) 
shows  in  a  wonderful  manner  the  natural  interplay  and  combination 
of  movement  in  the  dance.     The  word  Opposition  is  used  to  indi- 


38  THE    MOVEMENTS    IN    GENERAL 

cate  diiferent  members  of  the  body  directed  toward  different  points, 
rather  than  moving  in  symmetry. 

64.  Representation  of  the  Walk  in  Greek  Painting  and  Sculpture. 
— On  the  more  ancient  vases  and  reliefs  the  walkers  are  presented  in 
one  particular  aspect,  which  is  a  simplification  of  the  aspect  affected 
by  primitive  artists  everywhere ;  all  are  shown  in  profile,  more  or  less 
stiff,  and  with  the  feet  flat  on  the  ground.  This  convention,  which 
is  also  seen  in  Egyptian  art,  possesses  the  awkwardness  common 
to  all  archaic  work.  The  Greeks  retained  it  until  it  became  a  tradi- 
tion; it  is  to  be  seen  in  sculpture  of  the  best  period,  even  the  frieze 
of  the  Parthenon.  Experiment  proves  that  a  person  can  get  no 
elasticity  when  walking  on  the  soles  of  the  feet. 

Some  of  the  archaic  artists  appear  to  have  intentionally  rejected 
this  convention  and  substituted  one  of  their  own  fabrication,  which 
gives  a  better  appearance  to  the  walker.  It  is  used  on  the  famous 
vase  of  Aristonophos,  in  the  Capitoline  Museum,  which  dates  from 
the  commencement  of  the  seventh  century  B.  C,  according  to  Pottier. 
Ulyssus  and  his  companions  seem  to  be  working  out  the  steps  of  a 
dance.  Springing  on  the  tips  of  the  toes,  they  advance,  legs  lifted 
high,  as  though  they  were  about  to  kick  out  the  eye  of  Cyclops. 
It  must  be  admitted  that  the  scene  is  not  strictly  a  dance-scene, 
but  it  is  not  to  be  questioned  that  when  a  comic  scene  is  exhibited 
it  is  a  part  of  a  satyric  drama.  Therefore,  the  captives  of  Poly- 
phemus are  not  dancing.  The  Rhodian  ceramists  of  the  seventh 
century  B.  C.  (9)  painted  bold  warriors,  who  advance  on  the  toe, 
making  grimaces.  It  is  more  than  likely  that  the  artists  who  were 
bold  enough  to  use  this  most  strange  innovation  borrowed  the  form 
from  the  dance.  More,  the  walk  on  the  toes,  notwithstanding  its 
instability,  is  easier  to  draw,  because  its  mechanism  is  less  com- 
plicated than  the  normal  walk.  It  became,  in  the  hands  of  primi- 
tive artists,  a  formula  to  be  applied  without  discrimination.  It  is 
curious  to  find  that  two  monuments  of  nearly  the  same  date  should 
show,  one,  dancers  who  walk  heavily  on  the  whole  sole  of  the 
foot,  and  other  persons  in  armour  advancing  lightly  on  the  toes, 
though  it  is  quite  evident  that  they  are  not  dancing.  It  is  con- 
fusing. 

Nearly  all  of  the  artists,  both  painters  and  sculptors,  previous  to 


THE    WALK 


39 


the  sixth  century  B.  C.  present  their  figures  walking  on  the  soles 
of  both  feet  (Figs.  515,  541,  542). 

65.  What  are  the  variants  of  this  form,  and  in  what  way  are 
they  modified.? 

Sometimes  a  file  of  persons  advance,  holding  one  another's  hands, 
their  steps  being,  of  necessity  alike,  but  differing  in  length  of  stride. 


Fig.  15. 


Fig.  16. 


This  is  not  accident,  it  is  part  of  the  design.  On  the  Fran9ois  vase 
the  chain  of  dancers  who  execute  a  farandole  present  this  peculiar- 
ity (Figs.  15,  517).  The  men,  wearing  short  chalmys  which  do  not 
impede  their  movements,  walk  with  longer  steps  than  the  women, 
who  alternate  with  them.  These,  by  reason  of  the  gorgeous  tunics 
which  enfold  them  with  sheath-like  closeness,  appear  to  be  the  victims 
of  fashion,  and  move  with  difficulty. 

Elsewhere  this   same  dis- 
cord in  the  length  of  step  is 

to    be    noticed    in    dancing 

groups,  and  it  is  not  always 

a  matter  of  difference  in  sex. 
Fig.  16  is  an  example  of 

this.    The  two  are,  perhaps, 

Menades :       tliey       advance 

rapidly,  one  in  front  of  the 
other.    The  longer  step  makes  for  speed,  and  gives  an  effect  of  great 
energy. 

In  Fig.  17  one  can  see  that  an  effort  is  made  to  render  the  legs 
more  supple ;  the  walker  still  steps  on  the  soles  of  the  feet,  but 
there  is  a  little  less  stiffness,  because  the  knees  bend. 

The  dancing  figures   all  appear  to  suffer  from  this  defect, — see 


Fig.  17. 


Fig.  18. 


40 


THE    MOVEMENTS    IN    GENERAL 


Fig.  18,  cut  from  a  bronze  plaque  (64)  ;  the  carver  was  not  willing 
to  make  his  figure  walk  on  the  soles  of  the  feet  at  the  same  moment, 
nor  could  he  lift  both  toes  at  the  same  time,  so,  one  of  the  good 
fellow's  feet  follows  one  convention  while  an  entirely  different  one 
is  used  for  the  other;  he  lifts  the  heel  of  the  right  foot,  but  the 
whole  of  the  left  one  remains  fixed  to  the  ground. 

66.  Fig.  19  is  very  interesting;  it  shows  perfectly  the  antique 

idea  of  the  walk.  It  is  taken 
from  a  votive  bas-relief  found 
on  the  Acropolis,  and  belongs 
to  the  second  half  of  the  sixth 
century  B.  C.  Hermes,  fol- 
lowed by  three  Kharites  who 
hold  one  another's  hands, 
walks  on  the  soles  of  the  feet, 

'^"  ^^*  as  do  the  first  and  third  women. 

But  the  second  Kharite  lifts  the  left  heel,  presenting  an  appearance 
altogether  novel.  It  is  curious  to  see  how  the  artist,  fearing  to  go  too 
far  in  the  matter  of  innovations,  clung  to  the  old  custom  in  the 
case  of  three  figures,  trying  the  new  method  on  only  one.  Once  intro- 
duced, the  new  form  became  popular.  The  vases  of  the  sixth  century 
B.  C.  furnish  examples  (Fig.  20).  In 
the  fifth  century  B.  C.  it  became  gen- 
eral, though  the  work  of  that  period 
retained  much  of  the  stiffness  which 
characterized  the  paintings  in  red  of 
the  severe  period  (Fig.  461).  But  the 
tendency  was  toward  better  work  and 
progress  was  not  slow  (Fig.  106). 

This  is  not  to  say  that  the  walk  on 
the  soles  of  the  feet  was  wholly  abandoned ;  most  artists  held  piously 
to  the  traditions  of  the  past,  though,  little  by  little,  they  discarded 
them. 

67.  Representation  of  the  Walk  on  the  Frieze  of  the  Parthenon 
(15). — As  far  as  the  condition  of  the  bas-reliefs  permits  us  to 
judge,  nearly  all  of  the  persons  walk  on  the  soles  of  the  feet.  Some 
of  the  figures  are  isolated,  some  walk  two-by-two  (Figs.  21,  22), 


Fig.  20. 


THE    WALK 


4^1 


Fig.  22. 


These  groups  may  be  compared  to  certain  groups  on  the  vases  with 
black-painted  figures  of  the  period  of  the  sixth  century  B.  C. 

A  great  number  of  the  black-figured  vases  are  ornamented  with 
processions  in  which  Hermes  or  Apollo  take  part.  The  god  who 
conducts  is  followed  by  women  who  are  grouped  in  different  ways. 
The   gestures    are    nearly    always    symmetrical;    the    profiles,    from 

head  to  feet,  are  parallel, 

the  feet  of  each  figure  pro- 
jecting   beyond    those    of 

the  figure  preceding.  Thus 

the    painter    indicated    a 

great   number   of  persons 

(Figs.  23,  24). 

It    is    certain    that    in 

every  period  the  ceramics 
^'p-  21-  reflect  the  great  paintings. 

It  is,  therefore,  interesting  to  ascertain  from  the  work  of  Phidias 
that  the  perspective  used  in  his  time  was  not  different  from  that  of 
the  painters  of  the  sixth  century  B.  C.  There  is  the  same  parallelism 
of  profile,  the  same  symmetry  of  gesture,  the  same  disposition  of  the 
feet,  one  in  advance  of  the  other,  the  same  walk  on  the  soles.  Only, 
in  the  Parthenon  figures,  the  stiffness  gives  place  to  a  marvelous 
Pig.  23.  suppleness.     The  weight  of  Fig.  24, 

the  body   is   supported   on 

one     foot;     the    other    leg 

bends  lightly  at  the  knee  as 

the  step  is  taken. 

One  thinks,  at  first  glance, 

that  the  procession  has  halt- 
ed. The  aspect  of  these 
beautiful  persons  is  that  of  immobility;  there  is  little  in  it  that 
suggests  the  walk,  which,  as  Marey  says,  is  an  expression  of  per- 
petual instability.  Without  question,  the  young  women  who  carry 
the  libation  vases  show,  by  their  slow  step  and  quiet  air,  that  it  is 
a  sacred  procession;  the  same  may  be  said  of  the  flute-players.  At 
the  side  of  the  cortege  there  are  a  number  of  persons,  indubitably 
motionless,  who  appear  to  be  spectators.     They  seem  to  be  inter- 


4^         •  THE    MOVEMENTS    IN    GENERAL 

posed  between  the  ranks  of  the  marchers ;  only  on  this  supposition 
can  one  get  a  correct  idea  of  the  perspective  which  is  indicated 
on  the  bas-rehef.  There  is  a  great  variety  in  the  pose  of  the  per- 
sons who  are  not  marching.  Compare  these  with  the  fragment  in 
the  Louvre,  where  two  men  face  the  women  who  turn  to  the  left; 
one  holds  a  basket,  the  other,  who  seems  to  be  the  director  of  the 
company,  surveys  the  deployment.  These  two,  who  are  seen  in 
three-quarters  view,  rest  on  their  left  legs ;  the  right  legs  are 
bent  at  the  knee,  and  only  the  toes  touch  the  ground.  The  right 
heel,  which  is  hidden  from  sight,  must,  necessarily,  be  lifted.  The 
same  observation  applies  to  the  second  woman  carrying  a  vase  on 
the  north  frieze;  this  woman,  who  is  seen  in  profile,  has  stopped  to 
aid  a  conlpanion  who  faces  her.  She  rests  on  the  right  leg  which 
permits  the  knee  to  bend  and  the  heel  to  raise. 

It  is  seen  that  the  marchers  keep  their  heels  on  the  ground  while 
the  spectators  rest  the  weight  on  one  leg,  leaving  the  other  free,  with 
only  the  toe  touching  the  ground.  Here  there  is  no  question  of 
inexperienced  artists ;  this  is  the  ritualistic  pose  for  a  religious 
procession.  The  old  convention  of  the  walk  on  the  soles  expressed 
the  hieratic  character  of  the  ceremony;  with  this  convention  there 
is  another  to  be  noted,  and  that  is  the  peculiar  perspective  of  the 
walk  on  the  archaic  bas-reliefs  (29)  showing  all  of  the  persons 
advancing  in  the  same  time  and  with  the  same  step. 

It  would  be  foolish  to  pretend  to  interpret  with  exactness  all 
of  the  details,  many  of  which  are  essentially  decorative ;  their  creator 
cared  more  for  beauty  and  for  the  religious  expression  of  the  work 
than  for  realism.  The  only  faults  are  those  imposed  by  religious 
tradition. 

68.  To  show  the  persistence  of  the  walk  on  the  soles  of  the  feet, 
the  following  examples  are  noted. 

A  bas-relief  of  the  fourth  century  B.  C.  shows  a  chorus  of  seven 
persons,  divided  into  two  groups ;  they  are  preceded  by  a  dancer. 
They  walk  with  short  steps,  and  their  hands  are  hidden  in  their 
mantles   (Fig.   526). 

A  painting  taken  from  a  Greek  tomb,  not  anterior  to  the  third 
century  B.  C,  represents  a  dance  executed  by  twenty-seven  figures 
distributed   in   two  groups    (Fig.   530).      Twenty-six   of  them   are 


THE    RUN  43 

running  rather  than  walking,   on  the  soles  of  the  feet.     Only  the 
leaders  lift  the  heel. 

Of  the  first  century  B.  C.  there  are  many  "archaisant"  figures, 
among  others  the  mediocre  bas-relief  called  the  Kharites  of  Socrates, 
in  the  Vatican. 


THE    RUN 

69.  Mechanism  of  the  Run. — The  run  is  not  a  rapid  walk.  It 
differs  from  the  walk,  which  is,  more  or  less,  on  the  ground,  in  that 
it  is  a  movement  in  the  air,  the  body  being  lifted  more  or  less  high 
above  the  ground. 

Compare  the  diagram  of  the  walk  with  this  one  of  the  run. 


Fie.  25. 

Observe  that,  in  the  run,  there  is  a  period  of  suspension,  during 
which  both  feet  are  above  the  ground  (Marey). 

In  other  words,  the  run  is  a  series  of  leaps  from  one  foot  to  the 
other  (74). 

Fig.  26  is  a  reproduction  of  a  series  of  instantaneous  photographs 
of  the  same  runner,  showing  the  advance  from  one  leg  to  the  other. 

Image  2  corresponds  to  the  moment  of  suspension. 

The  figures  27,  28,  and  29-30,  present  the  runner  during  the 
three  first  leaps  of  the  run. 

Fig.  27  corresponds  to  the  moment  of  departure;  in  this  he 
carries  the  weight  of  the  body  forward  and  at  the  same  time  flexes 
the  right  knee  in  order  to  get  the  necessary  spring  to  throw  the 
left  leg  forward. 

Fig.  28:  the  moment  of  suspension  which  corresponds  to  the 
leap.  The  left  leg  begins  to  descend  as  the  body  darts  through 
the  air. 

Fig.  29:  the  second  period  of  suspension,  corresponding  to  the 
second  leap  from  the  left  leg  to  the  right. 


u 


THE    MOVEMENTS    IN    GENERAL 


Fig.  27. 


Fig.  30:  preparation,  by  holding  the  weight  on  the  right  leg, 
foot  lifted  high,  for  the  third  leap,  from  the  right  leg  to  the  left. 

70.  In  the  run,  even  more  than  in  the  walk,  there  is  an  instinctive 
opposition  of  the  arm  and  leg  (63).     The 
photographs  prove  that  without  any  argu- 
ment. 

71.  It  is  sufficient  to  briefly  mention  these 
few  of  the  many  aspects  of  the  run.  Images 
1  and  3  of  Fig.  26  and  Fig.  30  show  a  singu- 
lar difference  between  some  of  the  antique 
representations  and  the  modern.  The  form, 
which  never  varies  and  of  which  the  funda- 

Fig.  28. 


Fig.  29. 


Fig.  30. 


Fig.  26. 

mental  type  is  shown  in  Fig.  27,  is  not  in- 
exact. It  represents  a  true  moment  of  the 
run,  but  it  is  not  natural  in  all  its  details. 
The  monotonous  repetition  of  the  same  pose 
tends  to  prove  that  the  artists  did  not  see  all 
of  the  moments  (282)  of  the  run. 

The  ancients  observed  very  closely.  The 
education  of  their  eyes  was  carried  to  a  high 
state  of  development.  Marey  points  out  a 
remarkable  resemblance  between  the  runners 
painted  on  the  Athenian  amphorae  of  the  fifth 
and  fourth  centuries  B.  C.  and  the  runners  whose  movements  are  here 
analyzed. 

72.     The  Leap — The  three  photographs,  taken  at  successive  mo- 
ments, are  sufficient  proof  of  the  relation  between  the  run  and  th^ 


THE   EUN 


45 


leap.  The  Figs.  31  and  32  represent, — the  first  (Fig.  31)  the 
moment  when  the  body  is  flung  forward,  the  second  (Fig.  32)  the 
same  leap  during  the  period  of  suspension  (69).  Fig.  38  also  rep- 
resents the  moment  of  suspension. 

The  effective  leap  is  the  leap  that  is  high  and  long,  and  this  is 
the  same  when  it  is  a  part  of  the  run.  It  will  be  seen 
that  the  two  moments  of  the  leap,  fixed  by  the  images 
31  and  32,  correspond  exactly  to  the  moments  (282) 
of  the  run  represented  by  images  1  and  2  of  Fig.  26 
and  by  the  analogpus  Figs.  30  and  28,  without  tak- 
ing into  account  the  fact  that  in  one  the  right  leg 
and  in  the  other  the  left  leg  is  the  active  one. 

73.  Attention  must  be  called  to  this  point:  when 
the  leap  is  used  in  running,  the  body  is  passive,  the 
legs  alone  being  active ;  in  the  dance  it  is  different, — 
"no  leap  without  bending." 

74.  The  principal  forms  of  the  leap  are — the  long 
leap;  the  high  leap;  leap  forward;  leap  backward; 
leap  to  the  side;  leap  in  place;  leap  from  one  foot  to 
the  other;  leap,  coming  down  on  the  same  foot;  leap 
on  the  joints  of  the  feet,  etc. 

75.  Representations  of  the  Run  in  Painting  and 
Sculpture. — It  may  be  taken  for  granted  that  in  the  more  ancient 
sculptures  the  simpler  forms  of  movement  will  prevail.  On  the  reliefs, 
there  is  a  sense  that  the  artists  are  feeling  their  way,  there  is  a  hesita- 
tion in  the  technique,  but  always  logical  development.  Art  became 
freer  as  time  passed.  Taking  a  series  of  vases  of  different  periods 
this  is  noticeable.  Design  is  perfected  as  the  centuries  pass, — it 
shows  more  grace  and  energy.  The  brush  becomes  more  discreet,  the 
movements  lighter.  On  the  vases  with  black  figures  (10)  and  on  the 
first  vases  with  red  figures  (11)  the  motion  is  bolder  and  more 
rapid. 

76.  It  is  not  always  easy  to  know  which  of  the  figures  are  run- 
ning and  which  are  walking.  Though  the  mechanism  of  the 
two  are  so  unlike,  the  primitive  artists  hesitated  a  long  time 
before  adopting  a  style  of  drawing  that  would  indicate  the  differ- 


FijT'  82. 


ence. 


46 


THE    MOVEMENTS    IN    GENERAIi 


They   were   contented   to   make   only   the   legs   active.      The   two 

feet  rest  solidly  on  the  ground 
(16)  ;  progress  can  be  discovered 
when  the  heel  of  the  rear  foot  is 
lifted  (Fig.  33)  ;  much  later,  the 
rear  foot  touches  only  at  the  toe 
(Fig.  34). 

A  form  of  running  that  is  most 
gross  and  wholly  artificial  is  where 
the  legs  drag  along  the  ground; 
this  is  found  on  some  of  the  vases  of 
the  degenerate  period  (Fig.  518). 
77.  Archaic  art  employed  one 
form  more  awkward  in  appearance 
even  than   the   preceding,   but   of 

which  the  expressional  value  is  great.     Some  of  the  ceramists  launch 

their    runners    into    space    (Figs.    35,   36) 

flinging  their  legs  widely  in  a  sort  of  kneel- 
ing posture.     This  type  of  runner  is  also 

found  on  the  bas-reliefs.     But  here,  in  order 

to  give  the  figure  the  necessary  stability,  the 

sculptor  is  obliged  to  pose  him  on  the  sole 

of  the  forward  foot  and  the  knee  of  the  rear 

foot,  giving  the  body  a  crouching  position.     This  is  the  case  of  the 

Nike  of  Delos  (sixth  century  B.  C.)  of  which  Fig.  37  shows  a  part, 


FiR.  33. 


Fig.  34. 


>^^^q3'\ 


Fig.  35. 


Fig.  36. 


and  of  a  small  bronze  of  archaic  type  found  on  the  Acropolis,  also 
a  Nike. 


tHE    RUN 


47 


The  goddess  of  victory,  later  imagined  as  a  being  of  the  air,  is  here 
shown  settled  as  heavily  on  the  sole  of  her  foot  as  though  she  were 
riveted  to  the  earth.  Detached  in  part  though  it  may  be,  it  is  neces- 
sary that  a  statue  should  have  a  base.  The  Perseus  (Fig.  35)  and 
the  strange  winged  genius  (Fig.  36)  and  the  Nike  of  Delos  are  all 
leaping.     This  expresses  rapidity  of  motion. 

78.  On  a  bas-relief  of  Assos,  now  in  the  Louvre,  is  shown  a 
type  of  runner  essentially  of  the  Greek  type.     Hercules  and  the 


Fig.  3T. 


Fig.  38. 


Triton  put  the  Nereides  to  flight.  To  be  sure,  they  look  more  as 
though  they  were  walking  than  running;  but  the  artist  has  naively 
suggested  a  rapid  pace.  Compare  them  with  the  lightly-moving 
Nereides  of  the  verse  of  Homer  or  Sophocles !  They  follow  in 
file  with  hands  extended  in  a  gesture  of  fright,  legs  set  wide  apart, 
as  though  the  girls  were  paralyzed  with  terror.  The  sculptor's 
intention  is  quite  plain  (Fig.  39).  The  will  to  run  is  clear. 
One  of  the  most  ancient  masters  of  bas-relief  caught  a  mo- 
ment of  the  run  which  had  escaped  modern  artists  until  instanta- 
neous photography  proved  the  artist  of  the  past  correct.  See  Fig. 
30. 

In  the  same  period,  the  sixth  century  B.  C,  the  painters  of  the 
vases  began  to  grow  more  daring.     The  technique  is  more  free,  they 


48 


THE    MOVEMENTS    IN    GENERAL 


follow  more  closely  the  natural  movements  which  are  fugitive.     It 

is  sufficient  to  refer  to  Fig.  30,  or  to  Fig.'  26,  1,  which  is  analogous, 

to  get  an  idea  of  the  manner  of  the  run 
as  depicted  on  the  vases  with  black  fig- 
ures. The  line  of  the  ground  on  which 
the  feet  rest  is  more  clearly  indicated  in 
Fig.  40  than  in  most,  though  the  same 
thing  marks  Fig.  528.  The  Athenian 
runners  (Fig.  41)  are  the  most  exact  of 
the  series,  and  are  repeated  many  times 
Fig-  39.  on  the  amphorae  of  the  fifth  and  fourth 

centuries  B.  C.     The  form  of  run  in  which  the  runner  lifts  the  leg 

which  is  forward  and  just 

touches  the  toe  of  the  rear 

foot  to  the  ground  is  not 

appreciated    as    it    should 

be.     The  painters  of  the 

red-figured  vases  would  re- 
ject the  modern  manner. 

79.  A  comparison  of 
Figs.  42  and  43  with  the 
photographic  reproduc- 
tions in  Fig.  27  discloses 
a  startling  resemblance. 
They  might  almost  have 
been  superposed,  the  one 
on  the  other. 

80.  Fig.    44   and   Fig. 


F«g.  40.  Fig.  41. 

45  compare  with  Figs.  28  and  29  and  correspond  with  different 
moments  of  the  period  of  suspension  (69). 


THE    RUN 


49 


81.  Figs.  46  and  47  show  the  sixth  and  last  type  of  runner  and 
the  one  with  which  we  are  most  familiar.  It  is  identical  with  that 
of  the  Renaissance;  and  is  the 
one  generally  adopted.  The 
runner  rests  his  weight  on  the 
leg  in  front,  which  has  the  knee 
bent:  the  other  leg,  sharply 
bent  at  the  knee,  is  lifted  high 
and  backward.  Comparison  with 
Fig.  2  in  Fig.  26  justifies  the 
reconstruction  of  the  ensemble. 
Both  show  how  lightly  the  toe  touches  the  ground 


Fig.  42. 


Fig.  43. 


Artists  use  this 


Fig.  44. 

form  more  and  more,  though  the  Greeks  rejected  it  for  a  long  time 

because  it  was  not  strong  looking. 

82.  On  the  whole,  one  can  overlook  the  awkwardness  and  con- 
ventionality with  which  this  ancient  work 
is  embarrassed  for  the  sake  of  the  under- 
lying truth.  Coexistent  with  the  Greek 
ideal  of  exactness  there  is  a  singular  con- 
tradiction, a  spirit  of  routine  which  is 
distinguished  by  respect  for  tradition. 
Certain  attitudes,  certain  movements, 
abandoned  by  the  primitive  artists,  are 
taken  up  again  by  second-class  artists 
and  artisans,  who  regarded  them  as  the 
last  word  in  art. 

Looking  at  the  three  persons   (Figs. 

48,  49,  50),  it  is  hard  to  say  whether  they  are  walking  or  running. 

The  bodies  are  presented  full  face,  with  the  weight  on  the  leg  that  is 


Fig.  45. 


50 


THE    MOVEMENTS    IN    GENERAL 


Fig.  46. 


Fig.  47. 


advanced,  flexed  at  the  knee  and  turned  outward;  the  other  leg,  at 
the  rear,  has  the  heel  raised,  though  this  cannot  be  seen. 

There  are  a  great  number  of 
reliefs  in  the  same  posture.  The 
west  front  of  the  temple  of 
Athena  at  yEgina(  14)  furnishes 
prototypes :  one  of  the  war- 
riors who  brandishes  a  lance  at 
Athena's  side  appears  solidly 
set  on  both  legs,  the  weight  of 
the  body  carried  on  the  left  leg, 
which  is  bent  at  the  knee  and  is  in  profile,  though  the  other  leg, 
streytched  out,  is  full  face.  The  attitude  expresses  great  stability  but 
not  /tnuch  movement :  he  could  bend  his 
body  to  deliver  a  blow  to  the  enemy 
without  losing  his  balance.  The  Lap- 
ithae  of  the  Parthenon,  one  of  whom 
stands  face  to  face  with  a  centaur, 
presents  the  same  aspect,  and  is  visibly 
wrestling  in  place.  This  is  likewise  the 
case  with  one  of  the  persons  on  the 
frieze  discovered  at  Phigalia  (15). 
Always  the  legs  are  spread  wide  to 
give  greater  play  in  wrestling. 

The  statue  of  an  athlete,  called  the  Borghese  Gladiator  (Louvre), 
the  work  of  Agasias  of  Ephcsus   (second  century  B.  C),  excludes 

altogether  the  idea  of  forward  movement ; 
the  athlete  is  "on  guard"  with  very  wide 
"base,"  ready  to  parry  a  blow.  Such  an 
attitude  denotes  momentary  stability. 

In  the  case  of  the  high-reliefs,  the  "aca- 
demic" pose  has  become  banal — no  trace 
of  the  walk  or  the  run.     There  is  no  trace 
of  the  dance, — only  of  wrestling. 
On  the  contrary,  the  painters  of  the  vases  used   one  unvarying 
form  for  the  dance,  the  walk  and  the  run  (Fig.  494,  A).     Thus  the 
type  became  conventionalized  as  it  came  into  use  in  the  industrial  arts. 


_4 


Fig.  48. 


Fig.  49. 


THE    RUN  61 

83.  Hence  it  is  easy  to  excuse  some  of  the  clumsiness  that  char- 
acterizes these  vases.  The  legs  of  the  running  Hermes  (Fig.  51) 
are  somewhat  stiff,  but  this  is,  evidently,  an  affectation.  It  is  a 
deliberate  return  to  the  crude  forms  of  primitive  art.     It  is  of  the 


Fig.  50.  Fig.  51. 

(first  century  B.  C,  an  art  that  is  retrospective,  showing  traces  of 
all  the  periods  of  Greek  work  up  to  the  time  of  Pericles. 
^  84.  The  greater  number  of  the  preceding  figures,  that  is  to  say, 
15,  16,  17,  19,  20,  40,  42,  43,  45,  46,  47,  48,  49,  50,— are  taken  from 
scenes  of  the  dance.  The  persons  who  walk  or  march  or  run  are  at 
the  same  time  dancers  who  execute  the  natural  movements  of  the 
walk,  run  and  march,  their  dancing  is  not  a  movement  confined  to  the 
feet  alone.     They  dance  with  their  arms,  their  heads,  their  torsos. 

The  natural  movements  of  the  walk  and  the  run  are,  as  has  been 
stated,  of  many  types,  and,  as  they  get  farther  and  farther  from 
the  simple  walk  or  run,  tend  toward  the  artificial,  and  take  on  the 
character  of  dance  movements.  Modified,  transformed,  often  beyond 
recognition,  they  engender  the  dance-steps,  which  are  of  infinite 
variety. 

In  this  study  of  the  artificial  movements — otherwise,  the  dance — 
the  legs  and  the  body  will  be  considered  in  the  following  chapters. 


TECHNIQUE  OF  THE  DANCE 

1 — The  Positions 


Note.  The  modern  French  dance  serves,  in  this  study  as  the  point  of  departure 
and  the  standard  of  comparison.  It  would  not  be  possible  to  explain  all  of  the 
mechanism  in  its  multitudinous  complexity:  that  task  would  need  the  combined 
labors  of  twenty  ballet-masters.  The  author  has  omitted  all  movements  of  the 
modern  dance  which  are  not  replicas  of  the  Greek  steps  or  related  to  them. 

In  order  that  dancers  may  the  better  judge  this  work,  the  technical  expressions 
relating  to  the  dance  have  been  retained. 

There  are  many  books  published  on  the  dance,  generally  designed  for  the 
public  which  knows  little  or  nothing  of  the  subject,  therefore  the  writer  has 
endeavored  to  simplify  terms  and  the  groupings  of  subjects  and  sub-subjects 
so  as  to  make  their  explanation  more  clear. 

This  is  the  reason  why  so  much  attention  has  been  paid  to  the  five  positions  of 
the  legs,  which  are  designated  by  the  Roman  numerals  I,  II,  III,  IV,  V.  The 
term  Positions  is  also  applied  to  the  different  aspects  of  the  arms,  head,  and 
torso.  It  will  be  found  advantageous  to  compare  the  formulas  used  with  the 
pictures  taken  from  the  painted  vases  and  the  reliefs. 

The  attitudes  called  The  Attitude  and  the  Arabesque  are  treated  together 
because  they  serve  as  the  foundation  of  innumerable  movements. 

Following  these  there  is  a  description  of  the  movements  of  the  arms,  head, 'and 
torso  in  order  to  give  them  their  proper  place  in  the  art  of  design. 

The  plan  of  study  will  correspond  to  actual  lessons  on  the  dance.  There  will 
be  an  analysis  of  the  tempos  and  steps  (205,  271).  There  are  so  many  move- 
ments to  consider  that  it  nas  been  found  necessary  to  group  them  somewhat 
arbitrarily  according  to  their  gymnastic  affinities,  presenting  the  more  simple 
ones  first  and  ending  with  the  more  complex.  Under  one  heading  will  be  con- 
sidered tempo  in  relation  to  equilibrium,  in  another  category  the  time,  the  leaping 
steps,  the  moment  of  elevation,  etc.,  proceeding  by  selecting  and  eliminating  to 
get  the  proper  terms  of  comparison  with  the  Greek  dance-steps. 

I  have  called  in  geometry  to  my  aid,  but  I  must  hasten  to  say  that  I  do  not 
intend  to  give  the  pupil  the  idea  that  the  dance,  which  is  an  art,  can  be  reduced 
to  a  geometrical  formula.  I  shall  speak  of  symmetry,  of  contrast  (or  opposition), 
of  the  projection,  and  the  direction  of  movement,  of  the  vertical  axis  and  the 
line  of  equilibrium. 

I  shall  not  speak  at  length  of  the  chains  of  movements  as  used  in  the  modern 
classic  dance,  except  to  indicate  the  general  conditions  of  their  mechanism, 
coordinate  and  successive,  the  superposition,  the  repetition,  the  alternation,  the 
antimony  of  the  movements  and  their  determinism. 

I  must  insist  upon  the  right  to  use  the  word  moment  in  regard  to  positions 
at  a  certain  instant,  as,  the  characteristic  moment,  the  essential  moment,  and  the 
secondary  moment. 

All  of  these  terms  will  be  explained  in  their  proper  place. 

In  this  manner  I  shall  treat  the  subject,  not  in  a  complete  fashion,  indeed,  but 

55 


56  TECHNIQUE    OF    THE    DANCE 

shall  introduce,  in  the  study  of  the  classic  dance,  some  ideas  as  to  the  sense  of 
decoration  of  the  movements. 

This  will  really  be  a  study  of  the  elements  of  the  dance  as  exhibited  in  the 
paintings  and  sculptures.  The  technical  terms  have  been  used  in  speaking  of 
both  the  modern  dance  and  the  ancient. 

Finally,  like  a  philosopher,  I  reserve  the  right  to  borrow  from  science  what- 
ever words  I  need  to  make  my  meaning  clear. 

All  that  relates  to  the  modern  French  dance  is  printed  in  italics,  and  all  re- 
garding the  Greek  dance  in  ordinary  type,  thus  distinguishing  between  parallel 
explanations. 


85.  Setting  aside  rhythm,  the  elements  of  the  dance  are  the 
Positions  and  the  Movements, 

86.  A  Position  is  the  point  of  departure  or  the  end  of  a  move- 
ment, — the  preparation  or  the  conclusion. 

Suppose,  for  example,  a  stop  of  greater  or  less  duration,  and 
which  may  he  very  brief.  It  is  therefore  opposed  to  a  Movement  that 
need  not  be  defined. 

87.  The  Positions  are  distinguished  thus: 
Positions  of  the  legs. 

Positions  of  the  arms. 
Positions  of  the  torso. 
Positions  of  the  head. 

88.  The  only  Positions  of  which  the  form  and  the  number  are 
regulated  with  absolute  precision  are  those  of  the  legs.  Their  role 
is  of  the  greatest  importance.  They  constitute  the  foundation  of 
all  dance-movements. 


POSITIONS    OF    THE    LEGS 
A. — Fundamental  Positions  on  the  Sole  of  the  Foot. 

89.  These  are  five  in  number.  They  are  taken  on  the  sole  of  the 
foot  in  such  a  manner  that  the  weight  of  the  body  is  carried  on  the 
whole  sole.  The  hip  and  knee  must  be  turned  so  that  the  entire  leg 
and  foot  swing  outward.    The  leg  must  be  held  stiff. 

The  five  Positions  of  the  legs  will  be  designated  by  the  Roman 
numerals,  I,  II,  III,  IV,  V, 


POSITIONS    OF    THE    LEGS 


67 


90.  I 

In  the  first  Position  the  heels  touch  one  another  (Fig.  52). 


Fig.  52. 


Fig.  53. 


Fig.  54. 


Fig.  55. 


Fig.  56 


91. 


II 


In  the  second  Position  the  heels  are  carried  apart  the  length  of 
one  of  the  feet  (Fig.  53). 

92.  Ill 

In  the  third  Position  the  heel  of  one  foot  is  set  opposite  to  the 
instep  of  the  other  (Fig.  54). 

93.  IV 

In  the  fourth  Position  the  two  feet  are  placed  with  the  heels  in 
line  with  each  other,  but  with  one  foot  placed  forward  of  the  other, 
both  still  turned  sidewise,  and  separated  by  the  length  of  one  foot 
(Fig.  55). 

94.  V 

In  the  fifth  Position  the  feet  are  crossed  so  that  the  heel  of  one 
touches  the  toe  of  the  other  (Fig.  56). 

95.  In  joining  the  five  fundamental  Positions  two  varieties  of 
the  IV  produce  the  opening  or  the  Grossing  of  tJie  legs. 

The  IV  open  (Fig.  57). 
The  IV  crossed  (Fig.  58). 


58 


TECHNiatJE    OF    THE    DANCE 


Seen  from  directly  in  front  it  will  he  noted  that  they  are  different 
from  IV  (Fig.  55). 

96.  It  goes  without  saying  that  III,  the  three  IV  and  V  are  all 
double  forms.     Examples: 

III   (leg)  right  forward  (Fig.  54»), 
III  (leg)  left  forward. 

IV  facing  right  forward  (Fig. 
55), 

IV  facing  left  forward. 
97.  Holding  the  feet  sidewise, 
which  looks  so  strange,  and  which 
would  be  impossible  to  a  person 
unaccustomed  to  holding  his  bal- 
ance in  that  position,  is  one  of  the 
first  rules  of  the  modern  dance. 
Notwithstanding  its  odd  appear- 
ance, it  gives  to  the  dancer  much 
stability  and  suppleness  of  the 
feet.  It  is  graceful  and  always 
lends  a  sense  of  ease  in  movement,  and,  when  the  knees  are  bent  it  is 
possible  to  advance  the  foot  while  keeping  the  torso  vertical,  proving 
that  it  is  a  strong  position. 

98.  These  forms  of  fundamental  Positions  of  the  legs  are  the 
result  of  experience.  The  Positions  enumerated  above  are,  while 
simple,  all  that  are  needed  by  the  dancer.  They  correspond  to  all 
the  exigencies  of  movement;  they  fulfil  the  conditions  required  for 
stability;  they  serve  as  connections  between  the  successive  move- 
ments, when  the  eye  of  the  spectator  follows  with  difficulty  the  rapid 
evolutions  of  tlie  dance;  and  they  make  it  impossible  for  the  dancer 
to  lose  the  arrangement  of  the  dance,  and  are  guides  to  the  more 
complex  phases. 


Fig.  57.' 


Fiff.  58. 


B. — Principal  Positions 


99.  The  II  and  IV  show  the  beginning,  by  lifting  one  or  the  other 
of  the  legs,  of  the  two  Positions  derived  from  them,  which  are  called 
the  Principal  Position  of  the  II  and  the  Principal  Position  of  the  IV. 


POSITIONS    OF    THE    LEGS 


69 


100. 


PRINCIPLE    II 


Here  the  dancer,  in  II  fundamental  raises  one  leg  laterally,  hold- 
ing the  leg  at  right  angle,  hy  means  of  lifting  the  hip;  this  is  the 
Principle  Second  (Fig.  59). 


Fig.  59. 


Fig.  60. 


Here  the  leg  is  lifted  just  half  as  high  as  in  the  precedvng,  and 
this  is  called  half-Second,  or  half -high,  or  half-Position  (Fig.  60). 


101. 


PRINCIPLE    IV 


Fig.  61  shows  the  right  leg  of  the  dancer  in  Principle  IV  ad- 
vanced, Fig.  62  shows  the  same  leg  in  IV  backward.  The  point  of 
departure  for  both  of  the  Principal  Positions  is  fundamental  Posi- 
tion IV:  one  of  the  legs  being  raised  from  the  hip  either  forward 
or  backward. 

Here  the  leg  is  not  lifted  as  high,  and  this  is  also  called  the  half- 
Fourth. 


C. — Positions  on  the  Toe  and  on  the  Half-Toe 

102.  The  fundamental  Positions,  the  Principal  Positions,  and  the 
half-Positions  are  held  on  the  sole  of  the  foot,  but  are  also  taken  on 
the  ball  or  on  the  toe. 

Throughout  all  of  these  modifications  the  form  of  the  Position 
remains  the  same.     For  example: 

Fig.  63:  I,  the  left  foot  on  the  ground,  the  right  foot  on  the 
half -toe. 


60 


TECHNIQUE    OF    THE    DANCE 


Fig.  64 :  I,  both  feet  on  the  half -toe. 

Fig.  65 :  II,  left  foot  on  the  ground,  right  foot  on  the  toe. 

Fig.  66:  II,  both  feet  on  the  toe. 

Fig.  67:  IV,  crossed  on  the  toe. 

Fig.  68 :  V,  on  the  half-toe. 

103.  In  carrying,  the  principal 
Positions,  the  half -Positions,  the  Posi- 
tions on  the  half-toe,  the  Positions  on 
the  toe  through  all  their  variations,  do 
not  vary  from  the  fundamental  Posi- 
tions where  the  whole  sole  of  the  foot  is 
on  the  ground. 


Vie-  Cl.  Fig.  02. 

104.  The  rarest  examples  prove  that 
the  Greek  dancers  knew  how  to  hold  the 
hip  and  foot  in  the  lateral  position 
(Figs.  69,  70).  But  it  was  not  an  arbi- 
trary rule  imposed  upon  them  (97). 
In  searching  the  sculptures  for  equiv- 
alents of  the  modern  Positions  (86)  it 
will  be  found  that  there  are  certain  ab- 
stract rules  governing  the  manner  of 
holding  the  leg ;  these  are  both  difficult 
to  describe  and  ungraceful  in  practice. 
They  present  aspects  that  the  primitive  artists  were  opposed  to,  but 
which  their  successors  adopted,  only  to  discard  at  a  still  later  period. 

Painters  and  sculptors  copied  what  they  saw,  in  all  its  awkward- 
ness and  seeming  unnaturalness,  and  the  result  has  been  accepted 


POSITIONS    OF    THE    LEGS 


61 


as  the  work  of  inexperienced  men,  who  did  not  appreciate  exact- 
ness. 


105. 


FIRST    POSITION 


The  three  dancers  (Figs.  72,  73,  74)  turn  by  stamping  on  the 
feet  (266)  ;  they  are  examples  of  the  feet  with  heels  close  together, 
toes  turned  out.  It  is  the  fundamental  form  of 
the  first  Position,  and  the  sole  is  on  the  ground. 


Fig.  69. 


Fig.  70. 


Fig.  71. 


106.  The  contact  of  the  heels  is  an  essential  point  in  the  first 
Position,  therefore  a  great  number  of  examples  have  been  taken 
from  the  sculptures  and  paintings.  The  modern  dance  excludes  this 
pose,  the  Greek  dance  admitted  it  (Figs.  76,  77,  191). 


Fig.  72. 


Fig.  73. 


Fig.  74. 


In  the  admirable  archaic  statues  of  women,  discovered  on  the 
Acropolis  in  1889,  it  is  probable,  judging  from  the  positions  of  the 
legs,  that  the  feet  were  separated  in  this  manner.  One  of  the  figures, 
intact  (Collignon,  Greek  Sculpture  I,  p.  179),  wears  red  slippers. 
These  women  were  not  really  dancers ;  yet  taking  the  word  "dance" 
in  the  Greek  sense,  it  may  be  proper  to  apply  it  to  these  beautiful 


62 


TECHNIQUE    OF    THE    DANCE 


statues.  All  of  them  make  the  gesture  of  the  tunic  (44)  with  one 
hand  while  extending  the  other.  This  is  not  solely  a  decorative 
convention,  though  the  legs  advance  in  small  steps,  somewhat  stiffly ; 


Fiu'.  76. 


Fig.  75.  »''b'-  '"■  ^'S-  "^7. 

the  attitude  would  seem  to  have  a  religious  significance ;  there  is  an 
expression  of  adoration  according  to  the  ritualistic  system  of  ges- 
ture.    The  feet  may  be  held  together  only  by  accident. 


107. 


SECOND    POSITION 


II 


Fig.  78  is  a  preparation  for  the  II  fundamental,  which  Fig.  79 
expresses  well,  despite  the  long  drapery. 

Fig.  80  reproduces  a  turn  on  the  half-toe,  in  II. 


Fig.  78. 


Fig.  7a. 


Fig.  80. 


The   Fig.    69   shows   a   remarkable   type   of  dancer  in   Principle 
II  (Fig.  59). 


POSITIONS  OF  THE  LEGS 


6S 


108.  FOURTH    POSITION  =  IV 

The  IV  is  represented  on  the  vases  in  a  great  number  of  examples. 
The  feet  are  usually  separated,  like  those  of  onr  dancers,  but  in  a  vari- 
ety of  ways.  It  will  be  seen  that  Fig.  81,  in  IV, 
has  the  left  leg  placed  with  the  sole  of  the  foot 
on  the  ground,  and  the  right  on  the  half-toe. 


Fig,  SI. 


Fig.  82. 


Fig.  83. 


^^-Tli^two  figures  82  and  83  are  in  the  IV  on  the  half-toe. 
I     lOdyThe  IV  crarssed  is  one  of  the  favorite  positions  of  the  Greek 


Fig.  84, 


Fig.  85 


dancers,    if    one    may    judge    by    the    vast    number    of    representa- 
tions of  it.     One  may  see   (Par.   267)   the  excellence  of  the   mech- 


64 


TECHNIQUE    OF    THE    DANCE 


anism  employed  by  the  ancients  in  the  use  of  the  feet  in  turning 
by  tripping. 

Fig.  84:  IV  crossed,  right  forward  on  the  sole — left  at  rear  on 
the  half-toe. 

Fig.   85 :  IV  crossed,  on  the  half-toe. 
86:  IV,  crossed  on  the  toe. 

110.  Perhaps  the  dancer  in  Fig.  87  is  in  the  posi- 
tion of  the  Principle  IV  forward  (Fig.  61),  but  it  is 
not  easy  to  be  sure  on  account  of  the  perspective 
which  hindered  the  painter  from  striking  out  boldly 
to  depict  the  Position  of  the  Half-fourth  (101). 
The  style  of  design  is  mediocre  but  the  dance  repre- 
sented is  worse :  the  toe,  instead  of  being  held  low,  is 
lifted  so  that  the  sole  of  the  foot  is  visible  from  the 
front,  a  most  ungraceful  pose  and  one  never  per- 
mitted in  the  better  type  of  Greek  dance  any  more 
than  in  ours  (180). 

111.  Of  the  III  and  the  V  it  is  difficult  to  find 
precise  examples.     There  is  something  resembling  it 

in  a  dancer  with  a  tambourine,  from  a  Roman  tomb,  the  figure  being 
now  in  the  School  of  Beaux- Arts ;  this  dancer  is  on  the  toe  in  V.  It 
is  likely  that,  though  executing  the  entrechat  (cut),  that  figure  318 
is  in  V  Preparatory  (86,  255). 


Fiff.  8T. 


POSITIONS    OF    THE    ARMS 

112.  The  action  of  the  arms  in  the  dance  differs  essentially/  from 
that  of  the  legs.  The  legs  give  the  support,  therefore  they  must 
conform  to  rules.  The  arms  enjoy  greater  independence.  The 
legs,  hy  reason  of  their  functions,  must  not  stray  outside  the  limits 
of  equilibrium;  the  arms  interpret  the  nuances  and  the  expression  of 
the  dance,  being  plastic.  The  result  is  that  the  arms  are  carried 
in  an  infinite  variety  of  poses.  There  are  certain  fundamental  Posi- 
tions of  the  arms  as  well  as  the  legs. 

These,  for  brevity,  are  called  Positions  of  the  arms. 
They  are  logically  separated  into  two  groups:   1,  the  symmetrical, 
and  2,  the  contrasting  (or  opposing)  (114,  115). 

113.  The  arms  are  not  always  held  stiffly;  sometimes  they  hang 


POSITIONS    OF    THE    AEMS 


65 


by  their  weight  along  the  side  of  the  body  (Fig.  88).  From  being 
lightly  held  at  the  side  of  the  body,  they  are  lifted,  forming  an  arc, 
outward,  from  the  shoulder  to  the  finger-tips.  It  will  be  seen  that 
the  fingers,  grouped  around  the  palm  of  the  hand,  are  themselves 
in  opposition  to  the  thumb.  The  wrist,  much  more  than  the  elbow, 
is  bent  at  an  angle,  by  which  means  the  dancer  obtains  a  charac- 
teristic effect  (Fig.  93). 

The  hand,   in  most  modern  French  dances,   does  not  play  any 
special  role,  though  it  cannot  be  said  to  remain  inert.     It  has  one 


Fig.  88w 


Fig.  89., 


Fig.  90. 


fwnction, — to  provide  a  finish  for  the  arm.  The  fingers  are  always 
grouped  vn  a  manner  worthy  of  praise. 

One  reason  for  the  liberty  allowed  the  dancer  in  the  use  of  the 
arms  is  that  holding  them  is  one  of  the  most  difficult  things  connected 
with  the  dance. 

The  images  reproduced  above  and  on  the  next  page  represent  the 
principal  movements  of  the  arms  of  our  dancers. 

114.  Symmetrical  Positions  of  the  Arms — The  two  arms  are  held 
in  these  Positions  with  relation  to  the  body. 

Fig,  88:  Arms  in  repose,  supported. 

Fig.  89:  Arms  extended,  without  stiffness. 

Fig.  90 :  Arms  bent  at  elbow  and  held  on  the  breast. 

Fig.  91 :  Arms  circled  above  the  head. 

Fig.  92 :  Arms  high  and  outward. 

Fig.  93:  Arms  in 'Hyre  position.*' 

Fig,  94:  Arms  at  waist. 


66 


TECHNIQUE    OF    THE    DANCE 


115.  Contrasting  Positions  of  the  Arms — The  two  arms  are  held, 
in  contrasting  positions^  in  relation  to  the  hody. 

Each  of  these  positions  is,  of  course,  double  in  form,  as  may  he 
7ioted  in  Figs.  96,  97,  98,  99  and  101. 


Fig.  91. 


Fig.  92. 


Fig.  93. 


Fig.  94. 


Fig.  95,  A  and  B:  one  arm  high,  one  arm  extended. 
Fig.  96 :  One  arm  curved  over  the  breast,  one  arm  held  out  hori- 
zontally. 


Fig.  95. 


.  Fig.  97 :  One  arm  on  the  hip,  the  other  held  high. 
Fig.  98 :  The  two  arms  curved  toward  the  same  side. 
Fig.  99:  One  arm  curved  high,  the  other  low. 

The  Arabesque  positions  of   the  arms  are  positions   in  opposi- 
tion, as  seen  on  figures  from  the  most  remote  times  (170). 

116.     Often  the  dancer  plays  with  her  skirts,  which  gives  oppor- 


POSITIONS    OF    THE    ARMS 


67 


tunity  for  many  positions  of  the  arms.  Examples,  Figs.  100  and 
101:  the  first  is  a  symmetrical  position;  the  second  is  a  contrasting 
one.  The  position  may  he  termed  restrained,  to  distinguish  it  from 
free  positions  of  the  arms. 

117.      Our   dances    called    gymnastic    are    more    imitative,    there- 


Fiff.  9G. 


Fig.  07. 


fore  the  arms  move  according  to  a  system.     The  figures  from  88  to 
101  prove  this. 

The    Greek    dances,    on    the    contrary,    being    both    plastic    and 
mimetic,   use   the   arms    so   that   they    assist   both    the   nuances   of 


Fig.  98. 


Fig.  99. 


gesture  and  add  to  the  decoration.  The  dance,  as  has  already  been 
said,  has  a  language  of  its  own.  It  may  be  said,  at  this  point, 
that,  in  study,  we  separate  the  postures  that  have  a  dramatic  mean- 
ing from  those  that  are  purely  decorative. 


68 


TECHNiaUE    OF    THE    DANCE 


118.  The  Greek  dancers  did  not,  like  ours,  constantly  move  the 
arms  in  circles ;  they  had  no  fear  of  rigidity,  or  of  sharp  angles. 
It  is  true,  however,  that  in  the  noble  dances  the  arms  were  moved 
in  elegant  curves ;  the  statues  tell  us  so,  and  it  is  not  to  be  believed 
that  the  artists  always  sought  their  inspiration  in  themselves. 


Fig.  100. 


Fig.  101. 


Consider  the  arms  of  the  women  on  the  Parthenon  frieze ;  observe 
how  Phidias  clings  to  one  rule  (113).  The  arms  of  these  Athenians 
never  fall  by  their  own  weight  along  the  side  of  the  body, — they  are 
lightly  held  up,  grasping  the  folds  of  the  tunics  so  that  the  garments 
fall  in  plaits  like  organ-pipes. 

119.     The  hand  of  the  Greek  dancer  is  always  active ;  it  is  not,  like 


^. 


Fig.  102.. 


r 


Fig.  10.1. 


•'ig.  105. 


ours,  content  with  a  passive  role  (113)  ;  the  principal  interpreter  of 
the  mimetic  language,  it  holds  a  sovereign  importance  in  the  dance 
of  the  Greeks. 

120.     Symmetrical  Positions  of  the  Hands. — The  kinds  of  sym- 
metrical positions  have  already  been  enumerated. 


POSITIONS  OF  The  arms 


69 


Fi^.  105 


Fig.  106. 


Fig.  107. 


Fig.   lOS  corresponds  to  Fig.  88. 
Fig.  107  corresponds  to  Fig.  100. 


■yo 


TECHNIQUE    OF    THE    DANCE 


Figs.  103,  104,  105,  106  are  the  intermediary  Positions  between 
Figs.  102  and  107. 


Fig.  108. 

121.     The   Figs.   108   and  109 
correspond  to  Fig.  89. 


Pig.  109. 


Fig.  tlO. 


Fig.  111. 


Fig.  112 


Figs.   110,   111,  112  show  the 
same  Position,  rigid. 


POSITIONS    OF    THE    ARMS  71 

122.     The  dancers  in  Figs.  113  and  114!  have  the  hand  pressed 


Fig.  114. 


Vig.  113. 


to  the  breast,  but  they  resemble  the  figures  with  the  hand  crossed 
over  the  breast  (Fig.  90). 


Fig.  115.  Fig.  116. 

123.     Fig.  115  corresponds  to  Fig.  91. 


Fig.  117. 


124.     The  Positions  of  Figs.  116,  117,  118  visibly  tend  toward 
that  of  Fig.  92. 


72 


TECHNiaUE    OF    THE    DANCE 


Fig.  589  may  be  considered  a  transformation  of  the  same  pose 
as  Fig.  92,  and  Fig.  119  is  an  exaggeration  of  the  same  form. 


^'-  '''■  Fig.  120. 

125.  Fig.  120  corresponds  to  Fig.  93. 

126.  Figs.  121  and  122  correspond  to  Fig.  94. 


Fig.  121.  Fig.  132. 

127.     These  are  some  symmetrical  Positions   of  the  arms  which 
belong  to  the  Greek  dance. 


5     x^ 


Fig.  123.  P'S-  124. 

Arms  extended  outward  (Figs.  125,  124). 


POSITIONS    OF    THE    ARMS 


73 


Arms  extended  forward,  closer  together  (Figs.  125,  417). 


Fig.  125.  Fig.  126. 

128.     Arms  extended  downward,  thumbs  down   (Figs.  126,  127, 
128,  A). 


Fig.  127. 

Arms  extended,  thumb  held  high   (Fig.  128,  B). 
129.     Arms  advanced,  one  open  (Figs.  129,  130,  131). 


Fig.  129. 

130.     Arms  backward  (Fig.  132). 


Fig.  130. 


74 


TECHNIQUE    OF    THE    DANCE 


131.     Dancer  who  makes  the  gesture  of  Adoration   (Fig.   133). 
An  interpretation  of  perspective  found  again  on  Fig.  2. 


Fig.  131. 


Fig.  132. 


132.    Contrasting  (or  Opposing)  Positions  of  the  Arms. — Com- 
parisons with  the  modern  dance : 


-^^ 


Fig.  133. 


Fig.   134  corresponds  to  Fig.  95,  A. 

Fig.  482,  by  correcting  the  perspective,  is  seen  to  be  of  the  same 


Fig.  135. 


type.     It  is  probable,  despite  the  clumsy  appearance,  the  position, 
turning  with  the  castanets,  is  to  be  read  in  the  same  way. 

There  is  only  a  remote  resemblance  between  Fig.  286  and  95,  B. 


POSltlONS    OF    THE    ARMS 


75 


The  Figs.  135,  A,  and  187  are  transformations  of  the  type  of 
Fig.  95. 

133.      The  Fig.  136  is  something  like  Fig.  96. 


Fig.  130. 


134.      The  hand  on  the  hip  is  characteristic  of  the  type  of  Fig.  97, 
as  may  be  seen  from  Figs.  137,  138,  139,  A  p.nd  B. 


When  the  arms  are  enveloped  in  the  mantle  they  are  generally 
back  of  the  torso  (Figs.  359,  447,  A,  451). 


76  TECHNIQUE    OF    THE    DANCE 

Sometimes  the  hand  passes  across  the  back  (Figs.  140,  141). 


P*>.  143 


135.  Fig.  98  corre- 
sponds to  Figs.  142,  143, 
144  and  208. 


Fig.  144. 


Fig.  145.  pi„   146 

136.     Figs.  145,  146,  147,  148,  149,  150  belong  to  type  of  99- 


POSITIONS    OF    THE    ARMS 


77 


Fig.  147. 


Fig.  148. 


Fig.  149.  Fig.  ISa, 

137.  Greek  dancers  who  gesticulated  with  a  veil  (Figs.  458,  459), 
employed  it  much  as  our  dancers  do  and  presented  the  same  aspect. 

138.  Contrasting  (or  opposed)   positions  proper  to  the  Greek 
dance : 


Fig.  151.  Fig.  152.  Fig.  153. 

The  gesture  of  the  Pourer  (52)  is  more  or  less  transformed  (Figs. 
151,  152,  153,  584,  590).  The  latter  represents  a  person  playing 
with  castanets. 


78  TECHNIQUE    OF    THE    DANCE 

139.     The  gesture  with  the  veil  (Figs  3,  447,  B,  154). 


140.     The   gesture   of  the  lifted   arm   is   ritual   and   religious   in 
principle  (Figs.  155,  156,  157). 


Fig.  155 


Fig.  156. 


141.  The  gesture  of  the  tunic  is  a  dancing  gesture:  the  Figs. 
33,  50,  155,  etc.,  show  this  gesture  in  its  simple  form.  It  is  double 
in  Figs.  102,  103,  104,  105  and  106,  and  is  made  with  the  two 
arms  in  symmetry. 


POSITIONS    OF    THE    ARMS 


79 


142.  Gesture  termed  Bacchic  because  it  is  proper  to  Satyrs, 
Menades,  and  the  companions  of  Komos,  all  of  whom  are  called 
bacchants.     Their  characteristic  aspect  is  sufficiently  indicated  by 


Fig.  158. 


Fiji    159. 


Figs.  158,  159  and  160.  It  is  a  grotesque  position,  in  which  the 
hand  is  held  back,  the  wrist  often  turned  so  that  the  palm  is  out- 
ward, atid  the  thumb  is  held  high  (Fig.  160). 


tig.  160. 

143.  There  are  many  differing  types  of  positions,  symmetrical 
and  contrasting,  to  be  found  in  the  character-dances  (Figs.  171, 
178,  179,  180,  181,  460,  480,  etc.). 

144.  fhe  Chironomy — The  Greek  dance  is,  essentially,  dramatic, 
and  the  hand  is,  therefore,  nearly  always  active.  With  our  modern 
dancers  it  is  simply  an  implement  to  move  in  pretty  curves.  The 
ancient  dancers  were  more  independent,  and  used  their  fingers  to 
express  the  complicated  meanings  of  the  dance-language,  to  which 
the  key  is.  lost,  but  of  which  a  great  number  of  signs  remain. 


80 


TECHNIQUE    OF    THE    DAXCE 


The  word  chlronomj,  as  applied  to  pantomime,  had,  originally, 
a  meaning  that  was  perfectly  clear.  Plato  and  Xenophon  use  it  to 
characterize  the  movements  of  the  hand,  and  attribute  a  certain 
value   to  the  expressions.      The   play   of   the   hands   is   an  element 

introduced  into  the  dance  from  the  earli- 
est times,  and  developed  until  it  outshone 
all, others,  except  the  foot-movements,  in 
importance. 

The  study  of  the  hand  is  not  included 
in  our  dancing-lessons,  because  the  mod- 
ern classic  dance  excludes  all  of  the 
mimetics.  There  are  a  few  positions  of 
the  hand  taught,  but  they  are  not  con- 
sidered as  of  dramatic  value,  and  are  en- 
tirely separated  from  dramatic  expres- 
sion. 

145.  Observe  that,  when  the  hand  of 
the  Greek  dancer  assumes  a  role  that  is 
simply  passive  and  decorative,  it  takes  on 
much  the  same  attitude  as  the  hands  of 
our  modern  dancers :  the  fingers  are  grouped  without  touching,  the 
middle  finger  is  opposed  to  the  thumb  (Figs.  155,  161).  The  beauti- 
ful bronze  dancers,  discovered  at  Herculaneum,  show  this  detail 
worked  out  with  absolute  precision.  Few  of  the  sculptured  figures 
furnish  as  good  an  example  of  the  plastic  role 
of  the  hand  and  fingers.  Fig.  138  shows  the 
left  hand  speaking,  the  hand  is  in  process  of 
being  transformed  from  a  passive  to  an  active 
role. 

146.  One  of  the  types  which  is  the  most 
ancient  is  the  flat  hand,  with  the  palm  turned 
out  (Figs.  129,  162,  163,  164).  Flat  hand, 
horizontal  (Fig.  165). 

147.  The  index  finger  separated  from  the  others  dates  from 
the  fourth  century  B.  C.  and  is  one  of  the  motifs  used  in  dactylology 
(Figs.  166,  167,  168,  169)-  It  is  interesting  to  see  how  similar 
the  pose  of  the  fingers  is  in  the  charming  painted  figure  (Fig.  170) 


Fig.  ici. 


Fig.  t62. 


POSITIONS    OF    THE    ARMS 


81 


Fig.  .163. 


and  the  bronze  of  the  Roman  period  (171),  which  is,  quite  evidently, 
a  caricature. 


Fig.  1C4. 


Fig.  1(J5. 


Fig.  16C. 


Fig.  167. 


148.      Body  bent  to  the  side.     To  the  left  (Figs.  187,  188,  441, 
a  gesture  used  principally  by  bacchants,  and  is   of  the  fifth  and 


TECHNIQUE    OF    THE    DANCE 


[Fig.  168.^ 


?ig.;l70. 


Fifs:  iti. 


fourth  centuries  B.  C.     It  is   rarely  found   (Fig.   172).     Fig.   173 
may  be  called  a  later  type  of  the  same  form.     The  Figs.  174  and 


Fig.  172. 


175  are  worthy  of  notice  in  the  manner  in  which  the  hand  is  lifted, 
the  index  finger  being  detached  from  the  others  (147)-     It  is  the 


POSITIONS    OF    THE    ARMS 


83 


Fig.  174. 


riff.  175 


same  as  Fig.  176,  which  represents  a  hierodule  of  the  Hellenistic 
period,  and  shows  the  diffusion  and  the  transformation  of  the 
gesture. 


Fig.  177. 


Fig    1 


Fig.  179. 


149.     Figs.  178,  179,   180,  181   reproduce  exceptional  positions 
of  the  hand  and  fingers,  applied  to  character  dances.     The  gesture 


84  TECHNIQUE    OF    THE    DANCE 

executed  with  the  right  hand  by  the  four  men  in  Fig.  277,  and  by 


Fig.  180. 


Fig.  181. 


the  right  hand  of  the  dancer  represented  in  Fig.  278  are  purely 
grotesque. 


POSITIONS    OF    THE    BODY 

150.  Positions  of  the  hody,  where  the  legs  do  not  move,  are  five 
in  number.     Between  two  of  these  are  some  that  are  double. 

I.  Body  erect  (Fig.  182).  This  Position,  which  is  one  of  repose, 
in  which  the  dancer  stands  straight  and  firmly,  without  stiffness, 
with  the  chest  well  forward. 

II.  Here  the  body  is  bent  to  the  side  (Fig.  183).  This  Position 
is  double,  that  is,  it  can  be  taken  with  the  Body  bent  either  to  the 
right  or  the  left. 

III.  Body  turning  at  the  shoulder  (Fig.  184).  The  Shoulders 
turn  so  that  the  torso  is  facing  in  the  direction  in  which  the  legs 
appear  in  profile.  The  rotation  is  about  one-eighth  of  a  circle. 
It  may  be  made  toward  either  side. 

IV.  Body  bending  forward  (Fig.  185). 

V.  Body  bending  backward  (Fig.  186). 

151.  The  Positions  of  the  Body,  being  determined  by  the  struc- 
ture of  the  body,  are  the  same  among  the  dancers  of  all  times. 
But  by  incessant  use,  the  two  extremes, — the  torso  bent  forward  and 


POSITIONS    OF    THE    BODY 


85 


the  opposite  position,  the   torso   bent  backward^   have  become   the 
predominant  characteristics  of  the  Greek  dance. 


Fig.  182. 


Fig.  183. 


Fig.  184 


Fig.  185. 


Fig   18C. 


152.  The  body  of  the  dancer  erect.  This  position  is  one  of  re- 
pose, and  is  represented  by  the  dancers  of  Herculaneum  (Figs.  138, 
155,  161)  who  perfectly  illustrate  the  rule. 


Fig.  187. 


Fig.  188. 


153.  Body  bent  to  the  side.     To  the  left  (Figs.  187,  188,  441, 
472).    To  the  right  (Figs.  189,  190,  286,  470). 

154.  Body  bending  at  shoulder.    To  the  right  (Figs.  438,  439). 


86 


TECHNIQUE    OF    THE    DANCE 


To  the  left  (Figs.  177,  538).     In  these  two  figures  the  Body  bends 
both  sidewise  at  the  shoulder  and  to  the  right. 

155.  Body  bending  forward  (Figs.  411,  413, 
417,  418,  427,  B,  469). 

156.  Body  bending  bach  (Figs.   191,  193, 
154,  171,  369,  494,  B).  The  dancer  (Fig.  193), 


Fig.  189.  Fig.  190.  Fig.  191. 

who  twists  her  body  so  strangely,  is  one  of  the  bacchic  dancers  who 


Fig.  192. 

were  so  given  over  to  the  orgiastic 

frenzy  that  it  was  really  a  matter 

for     pathologists,     had     such     a 

science  existed  then.      Dr.  Meige 

has   not  hesitated   to   assert   that  Fijj.  193. 

this  representation  and  others  very  much  like  it  indicate  a  nervous 

crisis. 


^^^ 


POSITIONS    OF    THE    HEAD  87 

157.  The  body  bending  forward  and  the  body  bending  back^  are, 
without  any  reservations,  then,  exclusively  the  pos-itions  of  the 
bacchic  dancers,  who  play  an  important  role  in  the  Dionysian  dance. 


POSITIONS    OF    THE    HEAD 

158.  Adice,  author  of  *^The  Gymnastics  of  the  Dramatic  dance** 
says  that  there  are  five  Positions  of  the  Head,  corresponding  exactly 
to  the  positions  of  the  Body. 

I.  Head  facing  (Fig.  194). 

II.  Head  bent  to  the  side  (Fig.  195). 

III.  Head  turned  (Fig.  196).  Both  of  the  last  two  Positions 
are  double.  This  Position  is  taken  by  first  turning  the  Head  facing, 
then  moving  it  to  the  side  one-fourth  of  a  circle  to  the  left  or  right. 


Fig.  194.  Fig.  195.  Fig.  196.  Fig.  l97.  pig.  198. 

It  is  difficult  to  turn  it  ^ore  than  that,  owing  to  the  tension  of  the 
muscles  of  the  neck.  In  general,  it  cannot  be  turned  more  than  one- 
eighth  of  a  circle. 

IV.  Head  bent  forward  (Fig.  197). 

V.  Head  bent  back  (Fig.  198). 

159.  The  Positions  of  the  Head,  like  those  of  the  Torso,  are  deter- 
mined by  physiology  which  does  not  change  greatly  with  the  passing 
of  centuries.  The  last  two  mentioned,  the  Head  bending  forward  or 
back,  while  common  in  the  Greek  dance  are  seldom  seen  in  our  own. 

160.  Head  bent  to  the  side  (Figs.  450,  457),  right  or  left. 

161.  Head  turning  to  right  or  left  (Figs.  468,  498,  B,  521 ).  The 
head  turned  completely,  as  in  Fig.  485,  is  a  comical  exaggeration, 
but,  of  course,  quite  impossible. 


88 


TECHNIQUE    OF    THE    DANCE 


162.  Head  bending  forward  (Figs.  451,  461,  476,  483,  575, 
677). 

163.  Head  bending  back  (Figs.  352,  449,  505). 

164.  An  admirable  vase  in  the  Louvre,  of  which  Fig.  199  shows  a 
fragment,  furnishes  a  valuable  example  of  the  study  of  the  Positions 
of  the  head  which  are  characteristic :  Head  bent  forward  and  Head 
bent  back.  The  three  dancers  are  Nymphs.  The  one  in  the  center 
makes  the  dancing  gesture  of  the  tunic  (44),  presenting  the  head 


Pig.,199. 


bent  backward  and  in  profile,  while  the  body  is  in  full  face.  It  is  a 
convention  of  design  that  needs  but  one  explanation,  the  facility 
with  which  it  may  be  carried  out.  This  ceramist  has  substituted  for 
the  displeasing  drawing  a  charming  silhouette    (Fig.  198). 

165.  An  examination  of  innumerable  examples  of  dances  shows 
the  favorite  formula  to  have  been : 

Position  IV  crossed,  for  the  legs  (109). 

Body  bent  forward  or  back  (155,156). 

Head  bent  forward  or  back  (162,  163). 

The  bending  backward  of  the  Torso  and  Head  is  exaggerated  in 
the  bacchic  dances. 


COMBINATION  OF  THE  POSITIONS  89 

166.  Combination  of  the  Positions — The  manner  of  treatment  of 
the  different  Positions  of  the  Body,  Arms,  Head  and  Legs  has  up  to 
this  place  been  as  though  each  were  independent  of  the  others. 
They  are  now  to  be  considered  as  parts  of  a  whole,  combined  to 
give  a  great  number  of  variations. 

The  following  list  gives  the  principal  ones: 

Fundamental  positions  of  the  legs,  soles  of  feet  on 

the  ground 13 

Principal  positions  of  legs  with  half-positions ....  8 

Positions  on  the  half-toe 13 

Positions  on  the  toe 13 

47 

Positions  of  the  arms,  symmetrical 10 

Positions  of  arms,  contrasting ^0 

30 

Positions  of  the  body 7 

Positions  of  the  head 7 


The  sum  of  these  typical  positions,  reduced  to  a  minimum  is 
47  +  30  +  7  +  7  -=  91. 

Divide  these  into  four  groups,  the  positions  of  the  legs  being  rep- 
resented by  M:  the  positions  of  the  arms  by  N:  the  positions  of 
the  body  and  the  head  by  P  and  Q.  Every  one  of  the  positions  of 
groups  M,  N,  P,  and  Q  may  be  combined  with  the  positions  of  the 
other  three  groups,  and  each  of  these  may  be  combined  with  the 
remaining  groups. 

MN  +  MP  +  MP  +  NP  +  PQ 

+  NMP  +  NMQ  +  MPQ  +  NPQ 
+  MNPQ. 

Replacing  these  letters  with  the  figure  which  they  represent,  we 
get: 

47  X  30  +  47  X  7  +  47  X  7  +  30  X  7  +  30  X  7  +  7  +  7  + 
47  X  30  X  7  +  47  X  30  X  7  +  47  X  7  X  7  +  30  X  7  X  7  +  47 
X  30  X  7  X  7  =  95140  possible  combinations. 


90  TECHNIQUE    OF    THE    DANCE 

Not  all  of  these  combinations  would  he  good,  and  a  great  number 
of  them  are  purely  gymnastic  and  of  no  use  to  the  dancer. 

167.  Paragraphs  63-70  indicate  the  role  played  by  the  opposi- 
tion in  the  Run  and  the  Walk,  and  some  of  the  contrasts  so  produced 
between  the  legs  and  the  arms.  These  oppositions  are  instinctively 
produced  in  order  to  m,aintain  the  equilibriu/m.  The  dancer  thus 
escapes  being  thrown  out  of  balance,  a  thing  that  the  artificial  con- 
ditions of  the  ballet  render  extremely  likely  to  happen.  Opposition 
between  the  different  parts  of  the  body  may  be  called  a  constant 
readjustment  of  weight  among  the  members,  and  was  so  used  by 
Noverre,  who  revived  the  dance  in  the  last  century,  and  by  whom 
the  principle  was  considered  essential  to  the  stability  as  well  as  to 
the  effect.  In  a  word,  the  oppositions  advised  by  Noverre  are  those 
dictated  by  nature. 

It  is  clear  that  Opposition  does  not  reduce  the  dance  to  a  purely 
mechanical  movement,  like  the  walk  and  the  run.  The  principle  is 
the  same:  the  application  is  very  different.  The  Opposition,  as  used 
in  the  dance,  becomes  a  special  technique  of  esthetics. 

168.  Of  the  different  ways  in  which  the  Body,  Head,  Legs  and 
Arms  may  be  combined,  some  are  good  and  some  are  not:  how  is  the 
student  to  know?  To  answer  this  question  would  take  many  pages  of 
figures,  and,  even  then,  the  answer  would  be  incomplete.  The  art  of 
the  dance  escapes  dead  formulas.  Its  special  grammar  can  be  learned 
only  by  using  it  in  practice.  It  is  possible  to  note  only  a  few  of  the 
more  important  combinations. 

Among  these  are: 

The  Attitude  and  the  Arabesque. 

169.  The  Attitude. — This  word,  in  the  technical  language  of  danc- 
ers, has  a  signification  which  is  traditional  and  precise.  It  designates 
a  Position  on  one  leg,  usually  on  the  half -toe.  The  other  leg,  bent 
at  the  knee,  is  raised  from  the  hip.  TJie  vertical  line  of  equilibriuTii 
passes  through  the  shoulder  (298). 

The  two  principal  forms  of  the  Attitude  are: 

The  Attitude  outward,  in  which  the  body  is  facing  the  spectator. 

The  Attitude  crossed,  vn  which  the  body  is  presented  with  the 

shoulder  facing  the  spectator  (Fig.  201).     This  produces  in  per- 


COMBINATION  OF  THE  POSITIONS 


91 


spective  the  appearance  of  crossed  legs.    In  both  cases  the  legs  are 
in  the  same  position. 

170.  The  Arabesque. — Derived  from  the  Attitude,  the  Arabesque 
is  a  special  combination  of  posi- 
tions of  the  legs,  the  Arms  and  the 
Torso,  quite  different  from  those 
already  noted.  It  is  characterized 
by  a  tension  of  the  members  which 
gives  length,  while  preserving  the 
same  outward  arc,  and  holding  the 
body  in  equilibrium.  The  body  of 
the  dancer  is  held,  as  in  the  Atti- 
tuda^  on  one  leg,  with  the  other 
lightly  lifted  so  that  it  describes  a 
long  curve  in  relation  to  the  body. 

Fig.  202  shows  the  pose  in  the 
outward  form,  and  203  in  the 
crossed  form. 

171.  The  grace  of  the  dancer  is   intimately  connected  with  the 
conditions   of  equilibrium,  which  are   latent.      When   a  pose   looks 


Fig.  200.; 


Fig.  201. 


Fig.  202., 


Fig.  203. 


uneasy,  it  ceases  to  be  pleasing.  The  secret  of  grace  consists  in 
knowing  how  to  apply  constantly  the  laws  of  stability.  The  Greeks 
had  this  knowledge,  and  used  it  just  as  our  dancers  do. 


92 


TECHNIQUE    OF    THE    DANCE 


Fig.  204.i 


Observe  the  manner  in  which  the  masters  of  the  modern  French 
dance,  Noverre  and  Blasis,  take  advantage  of  the  law  of  opposition. 
Then  note  how  the  Greeks  used  it. 

There  is  a  graceful  and  beautiful  an- 
swer to  that  question  in  the  charming 
child  of  Tanagra,  an  Eros  dancer  (Fig. 
204). 

The  left  leg  and  the  right  arm  are  ad- 
vanced to  the  same  degree. 

The  body  is  lightly  bent  backward,  the 
head  lightly  bent  forward. 

The  head  is  turned  to  the  right,  the 
side  on  which  the  leg  is  at  the  rear. 

The  directions  show  a  diagonal  line 
through  Arms  and  Legs,  and  through 
Legs  and  Head;  the  direction  of  the 
Head  and  Torso  are  in  opposition.  The  little  Eros  uses  the  code  of 
Noverre  and  Blasis,  like  an  accomplished  dancer. 

172.  An  example  of  the  rope-dancing  Satyr  of  Pompeii  (Fig.  205) 
shows  no  application  of  the  same 
principle.  He  advances  the  arm 
and  leg  on  the  same  side  at  the  same 
time:  this  is  not  the  way  a  true 
dancer  holds  himself.  It  is  an  ex- 
pression of  the  joyous  companion 
of  Bacchus  who  gambols  danger- 
ously along  under  the  effect  of  copi- 
ous libations :  the  effect  is  correctly 
interpreted. 

This  may  be  proved  by  looking  at 
a  vase  painted  with  red  figures  (Fig. 
600),  in  which  the  dancers  seem  to 
have    adopted    a    cult    of   unequili- 

brium.  There  is  a  strong  resemblance  in  position,  between  the  Satyr 
of  Pompeii  and  the  more  pleasing  types  who  play  on  the  vases.  The 
painting  exhibits  a  good  citizen,  who  is  somewhat  awkward,  who 
dances  because  he  like§  tq  do  so,  and  is  untroubled  by  the  fine  di§- 


Fi^.  205. 


COMBINATION  OF  THE  POSITIONS  y?) 

tinctions  of  the  art.  Here  there  is  the  same  tendency  to  put  the 
same  side  forward,  and  the  head  following  them :  the  figure,  therefore, 
lacks  stability. 

This  kind  of  representation  is  rare.  More  often  (leaving  the 
archaic  work  out  of  consideration),  the  law  of  Opposition  is  instinc- 
tively applied  by  the  Greek  dancers.  Noverre  and  Blasis  did  not 
copy  the  figures  on  the  vases  and  reliefs :  they  held  that  the  best 
form  of  design  resulted  from  the  crossing  in  equilibrium  which  re- 
sults in  stability  as  well  as  grace. 

173.  It  has  been  remarked  that,  in  the  earlier  centuries  of  Greek 
art,  the  painting  was  in  advance  of  the  sculpture.  The  dry-point 
and  the  pencil  of  the  ceramic  artists,  who  copied  the  great  painters, 
had  already  created  masterpieces,  while  the  statues  still  retained  the 
stiflTness  of  the  archaic  period.  The  joyous  dancers  of  Komos,  the 
Satyrs  and  the  Menades,  marvelously  supple,  give  themselves  up  to 
the  eccentricities  of  delirious  dances  at  an  epoch  when  the  sculptors 
had  not  yet  learned  to  separate  the  arms  and  legs  of  their  figures 
from  the  body  (10,  11,  14,  15).  They  do  not  present  the  poses 
of  the  more  elegant  dance.  When  their  statues  walk,  the  arm  falls 
heavily  along  the  side  of  the  body,  in  a  see-saw  motion  opposed  to 
the  legs.  Though  ignorant  of  the  law  of  Opposition,  they  applied 
it  in  the  matter  of  arms  and  legs,  as  a  necessary  concomitant  of 
equilibrium,  and  this  is  at  the  same  time  one  of  the  secrets  of  the 
dance. 

It  is  only  in  the  jifth  century  B.  C.  that  suppleness  which  makes 
for  eurhythmy  begins  to  find  its  way  into  statuary.  The  Nike  of 
Paeonios,  though  much  mutilated,  shows  the  application  of  the 
principles  of  elegance  which  the  ballet-masters,  without  the  aid  of 
instantaneous  photography,  discovered  from  nature. 

The  name  Athenian  is  given  justly  to  all  the  masterpieces  of 
Greek  sculpture.  "The  ancient  statues  are  the  monuments  of  the 
antique  dance."  .  .  .  The  sculptors  sought  to  render  the  most 
beautiful  movements  freely  and  with  elegance,  in  bronze  and 
marble. 

174.  Throughout  all  periods  of  the  Greek  dance  the  Positions, 
as  a  whole,  are  analogous  to  the  Attitude  (169).  These  three  ex- 
amples, taken  respectively  from  the  first  half  of  the  fifth  century 


\ 


94 


TECHNIQUE    OP    THE    DANCE 


B.  C,  the  Hellenistic  period,  and  the  Roman  period,   show  three 
varieties  of  the  same  form. 

Fig.  206:  Attitude,  crossed. 

Fig.  207:  Attitude,  crossed,  bent  back. 

Fig.  208:  Attitude,  body  bent  back  and  sidewise. 


Fig.  206. 


Tig..2or: 


Fig.  208: 


Compare  with  Figs.  200  and  201  and  note  the  difference  in  per- 
spective. 

(These  figures  are  not  the  best  examples  of  the  Arabesque;  the 
modern  type  has  not  been  surpassed  by  any  antique  figures  so  far 
discovered.) 


TECHNIQUE  OF  THE  DANCE 

II,     Preparatory  Exercises 


175.  So  far  the  dancer  has  been  considered  motionless.  Separate 
notice  has  been  taken  of  each  pose,  but  nothing  has  been  said  about 
the  means  by  which  the  transition  from  one  to  the  other  is  effected. 

The  Positions  and  the  tempos  create  their  own  limitation,  like  a 
pendulum,  they  are  limited  to  the  two  extremes  of  space  between 
which  they  may  move. 

176.  The  dancer  is  now  familiar  with  the  Positions  which  will  be 
spoken  of  as  the  statics  of  the  art:  next  comes  the  study  of  motion,, 
in  which  it  will  be  necessary  to  move  according  to  certain  formulas, 
and,  by  degrees,  acquire  the  suppleness  and  the  force  needed  in  the 


Fig.  209.  .P'S-  210.. 

articulations.  These  special  gymnastics  may  be  compared  to  those 
of  the  pianist,  who  must  practice  many  hours  each  day  to  make  the 
fingers  agile  and  strong. 

The  first  exercises  for  the  dancer  are  called  the  Preparatory  for 
the  legs,  and  are:  Bending,  Separating,  Striking,  and  the  Circles 
with  the  Legs. 

177.  Bending  and  Holding. — The  pupil  bends  in  each  of  the  five 
Positions,  on  both  feet  and  on  one  foot.     Examples: 

Bending  in  I  on  the  sole.     (Fig.  209.) 

Bending  in  I  on  the  half -toe.     (Fig.  210.) 

Bending  in  II  on  the  sole.     (Fig.  211.) 

Bending  in  Principle  II  on  the  supporting  leg.     (Fig.  212.) 

Bending  in  Principle  IV  on  the  supporting  leg.     (Fig.  213.) 

97 


98 


TECHNIQUE    OF    THE    DANCE 


Bending  m  V  on  the  sole.     (Fig.  214.) 

Immediately  after  bending,  rise  to  the  same  Position  and  repeat 
the  exercise,  each  time  bending  lower  and  lower. 

178.  The  exercises  to  make  the  knees  supple  are  the  same  simple 


Fig.  211. 


Fig.  212. 


and  natural  ones  that  were  used  in  ancient  Greece,  as  may  be  seen 
from  the  figure  of  a  grotesque  dancer  taken  from  a  Corinthian  bowl. 
(Fig.  215.)     He  bends  in  Principle  II,  with  legs  widely  separated,  in 


Fig.  213. 


Fig;  2W. 


a   burlesque    attitude    of   defence,    with   both    feet    planted   on    the 
ground,  as  our  modern  dancers  stand.     (Fig.  211.) 

179.  Separating — The  active  leg  is  separated  from  the  support- 
ing leg,  of  which  the  toe  rests  on  the  groujid,  the  rest  of  the  foot  be- 
ing somewhat  lifted.  The  movement  may  be  made  forward,  at  the 
side,  or  the  back. 

.  Suppose  the  dancer  stands  in  one  or  the  other  of  the  Positions 
III  or  F,  right  leg  forward;  he  carries  the  right  leg  in  IV  advanced 


PEEPAKATORY    EXERCISES 


99 


on  the  toe,  or  the  left  leg  in  IV  to  the  rear  on  the  toe,  or  one  or  the 
other  of  the  legs  in  II  on  the  toe,  he  executes  thus  the  Separation  on 
the  ground. 

Example  of  the  Separation  in  II  on  the  ground  (Figs.  217,  1,  2)  : 

Assume  that  the 
dancer,  standing  in 
III  or  V,  carries  one 
leg  to  half  II  (Fig. 
60),  or  to  Principle 
II  (Fig.  69),  or  to 
half  IV,  or  to  Prin- 
ciple IV  (Figs.  61, 
62),  he  executes 
thus  the  Separation 
in  half  II,  or  in 
Principle  II,  etc. 

The  rule  for  the 
Separation  is,  as  may  he  seen  from  the  preceding,  easy  to  state, 
ride  following  is  particularly  applicable. 

180.  Toe  Low. — When  the  dancer  lifts  one  leg,  he  holds  the  toe 
down  and  stiff,  the  movement  beginning  in  the  hip,  which  lifts  the 

upper  leg:  the  movement  extends 


Fig.  215.' 


The 


i^p^ 


to  the  knee,  which,  in  turn,  lifts 
the  foot,  heel  first,  the  toe  being 
the  last  to  leave  the  ground.  This 
succession  of  movements  is  logical : 
it  is  a  transmission  of  movement 
from  high  to  low.  The  photo- 
graphs, 8,  9,  10,  11,  12,  of  Plate 
II,  show  the  application  of  the 
mechanism  used  by  the  dancer  dur- 
ing the  Separation  of  V,  right  ad- 
vanced, to  principle  IV  outward 
(186). 

181.  Fig.  81  shows  the  right  leg  of  a  Satyr  separated  on  the 
ground  in  IV  advanced. 

Fig.  279  gives  an  example  of  the  Separation  in  half  IV. 


,Fig.216. 


100 


TECHNiaUE    OF    THE    DANCE 


Fig.  69  is  a  separation  of  the  right  leg  in  Principle  II. 
182.  The  Greek  dancers,  as  well  as  the  modern,  had  a  horror  of  the 
lifted  toe.     When  the  separation  is  held  for  any  length  of  time,  the 
toe  is  held  downward.    When  the  leg  is  lifted,  the  movement  is  trans- 
mitted from  high  to  low, 
as     w^th    our    dancers. 
(Figs.  69,70.) 

It  is  rarely  that  the 
rule  of  the  toe  low  is  not 
observed.  The  excep- 
tions (Figs.  87,  216, 
469)  are  explained  by 
the  intention  to  carica- 
ture, or  a  mistake  in  the 
drawing.  The  scene 
from  which  the  Satyr 
(Fig.  216)  is  taken  represents  the  triumph  of  a  grotesque  Her- 
cules. The  hero,  flanked  by  Victory,  is  mounted  on  a  chariot  drawn 
by  four  Centaurs.  The  Satyr  is  frisking  along  ahead,  wearing  a 
mask,  and  brandishing  two  torches,  and  caring  nothing  at  all  for 
rhythm. 


The  painter  who  reproduces  his  ridiculous  antics  shows  the  whole 
sole  of  his  foot,  a  thing  that  no  dancer  would  dream  of  doing.  Fig. 
87  is  taken  from  a  vase  of  the  degenerate  period,  and  is  in  poor 
style.     In  regard  to  Fig.  489,  it  is  in  flat  contradiction  to  all  the 


PREPARATORY    EXERCISES  101 

other  images  of  the  same  series,  which  uniformly  present  the  foot 
with  the  toe  down. 

These  three  exceptions  only  serve  to  prove  the  rule. 

183.  The  Strike  (Battement). — To  execute  the  Battement,  quiMy 
move  the  active  leg  away  from  the  supporting  leg,  and  then  bring 
them  together  again. 

The  three  principal  types  of  Battement  are:  The  Battement  on 
the  ground,  the  Battement  held,  and  the  Grand  Battement. 

184.  Striking  the  Ground. — The  leg  in  the  III  or  F,  is  advanced 
or  put  hack  (96),  separates  to  II  on  the  toe,  and  returns  to  its 
original  position  (Fig.  217)  in  this  order:  — 1,  2 — 1,  2, — 1,  2. 
The  leg  that  commences  forward  finishes  in  the  rear  (Fig.  217),  re- 
commences at  the  rear,  and  finishes  forward  (in  the  order,  1,  2,  3), 
the  second  part  of  the  movement  being  3,  2,  1.  The  successive  mo've- 
ments  are  1,  2,  3,  2,  1,  2,  3,  2,  1,  2,  3,  2,  1. 


185.  Battement  Held — This  differed  from  the  preceding  in  that 
the  upper  part  of  the  leg  is  held,  continuously,  in  a  lateral  position; 
the  foot  that  strikes  does  not  touch  the  ground,  and  it  crosses  the 
supporting  leg,  toe  high,  drooping  from  the  instep.  The  upper  leg 
rests  motionless,  only  the  lower  leg  being  moved.  Taking  the  images 
in  their  order,  1,  2,  3,  2,  1,  gives  an  exact  idea  of  striking  on  the 
instep,  alternated  over  and  over.  (Note  back  and  forward.) 
Chains,  in  series  like  this,  higher  each  time, 

1,  <C,   t>,  <C,    1,   <^,   (?,    /&,    1,   /d,   <?,   <c,    1. 

186.  Grand  Battement. — Often  serves  as  the  finish  of  Principle  II 
or  Principle  IV,  and  is  called  Battement  in  II  or  Battement  in  IV. 

Plate  II  is  a  photographic  analysis  of  the  Grand  Battement  in 
fourth  outward,  on  the  ground.  (Duration  of  the  movement,  4/5 
of  a  second.) 

Image  I  shows  the  extreme  limit  of  the  Position.  The  leg  is  wholly 
held  in  Principle  IV  outward. 

Image  2 :    The  toe  is  inflected,  the  leg  lowered,  carrying  the  knee. 

Image  3:  The  leg  is  lowered  more  and  more:  the  toe  is  pointed 
toward  the  ground;  the  upper  leg  is  held  so  that  it  produces  an 
angle  with  the  knee. 

Image  4 :    The  toe  touches  the  ground. 


102  TECHNIQUE    OF    THE    DANGE 

Image  5 :     Tlie  angle  formed  by  the  knee  is  straightened. 

Image  6:     The  heel  is  posed  in  V  right  forward. 

Image  7 :    The  leg  is  held. 

Image  8:  Pause  between  the  two  Battements,  corresponding  to 
the  V  fundaTnental, 

Image  9 :  The  upper  leg  is  lightly  lifted,  followed  by  the  lower 
leg,  and,  lastly,  by  the  heel.     The  toe  rests  on  the  ground. 

Image  10:     The  foot  quits  the  ground  at  the  toe. 

Image  11:  The  upper  leg  is  elevated  more  and  more:  the  toe  is 
low:  the  lower  leg  is  held  back  so  that  an  angle  is  produced  at  the 
knee. 

Image  12 :  The  angle  is  effaced.  The  leg  comes  back  to  the  same 
position  that  is  presented  in  Image  1. 

The  pupil  should  read  the  series  in  the  following  order:  8,  9,  10, 
11,  12,  1,  2,  3,  4,  5,  6,  7.  The  images  8,  9,  10,  11,  12  /  correspond 
to  the  Separation  of  the  right  leg  in  Principle  IV  outward  and  the 
images  2,  3,  4,  5,  6,  7  a  high  and  low  movement  which  brings  the  leg 
back  to  V  advanced,  held  on  the  ground. 

187.  This  analysis  shows  the  rule  applied  to  the  mechanism  of 
the  Separation  (180).  So  in  Separation  the  movement  is  made  from 
high  to  low,  with  the  leg  and  with  the  toe,  vnasmuch  as  the  upper 
leg  is  lifted  first,  and  the  last  member  to  leave  the  ground  is  the 
toe.  The  movement  is  then  made  in  an  inverted  form,  the  motion 
transmitted  from  the  toe  to  the  hip,  the  toe  being  flexed  first,  with 
the  leg  low,  then  the  rest  of  the  leg  follows. 

188.  TJie  preceding  should  give  a-.good  idea  of  the  Grand  Batte- 
ment,  or  Strike,  The  leg  is  stiff  on  the  ground,  in  the  III  or  the  V, 
forward  or  back,  carried  in  Principle  II  or  in  Principle  IV,  facing, 
outward,  crossed,  in  advance,  or  to  the  rear,  and  returns  to  its 
initial  Position.  The  second  plate  proves  that  the  leg  that  executes 
the  Battement  is  held  in  two  extreme  positions,  and  that  in  the  inter- 
val it  is  more  or  less  bent. 

189.  The  illustrations  of  the  Battement  indicate  the  essential  mo- 
ments, which  are:  the  initial  Position,  the  extreme  Position,  and  the 
final  Position,  which  are  indicated  by  the  three  figures  (284)  Figs. 
217  and  218.  The  sculptures  give  little  assistance  in  the  matter  of 
successions,  nor  do  we  demand  it  of  them.     It  suffices,  in  order  to 


PEEPARATORY  EXERCISES 


103 


Fig.  219. 


Fig.  220. 


reconstruct  the  Battement,  to  find  the  two  essential  moments ;  they 
correspond  to  the  two  extremes  noted  in  regard  to  the  modern  dance 
(285). 

Fig.  219  justifies  us  in  supposing  that  the  dancer's  leg,  raised 
outward,  in  Principle 

II,   will   re-approach     c^-— -^^^^[^Ovc  "^\    l\  V\     ^    / 

the  supporting  leg, 
thus  executing  the 
Grand  Battement. 
Comparisons  between 
Fig.  219  and  Fig.  12 
of  the  second  plate 
show  a  close  analogy.  The  conviction  becomes  stronger  upon  compar- 
ing Figs.  3  and  11  of  the  same  plate  with  Fig.  220,  taken  from  the 
same  vase  as  Fig.  219.  Thus  we  obtain  the  moments  of  the  series  2,  3, 
4,  5,  6,  7,  8,  9,  10,  11,  12  (plate  II),  3,  11,  and  12.  The  rest  must  be 
interpolated  in  order  to  reconstruct  the  movement  in  its  entirety.  To 
be  exact,  it  should  be  noted  that  the  Greek  dancer  does  not  execute 

the  Grand  Battement  in  IV  outward,  but 
rather,  a  Grand  Battement  in  II.  The 
mechanism  of  the  movements  is  much  alike. 
190.  The  vase  from  which  Figs.  219 
and  220  are  taken  is  a  psytere  in  the 
Louvre,  and  was  used  to  cool  wine,  being 
surrounded  with  ice  (plate  I).  The  fig- 
ures are  in  red  on  a  black  ground,  and  is 
incised,  a  process  usually  ascribed  to  a 
later  date  than  the  beginning  of  the  fifth 
century  B.  C.  It  is  a  moment  of  transi- 
tion, just  before  the  return  to  the  more 
ancient  technique,  as  spoken  of  in  detail  in  paragraph  9. 

Fig.  219  represents  the  legs  of  the  dancer  5  in  plate  I:  Fig. 
220,  those  of  the  dancer  2.  By  an  artifice  most  simple  and  not  un- 
natural, the  dancers  are  shown  in  the  copy  in  such  arrangement 
that  they  are  opposite  one  another. 

191.  Circles  with  the  Legs. — These  are  related  to  the  Battement. 
They  differ  in  the  form  of  the  figure  defined  on  thei  ground  or  in 


Fig.  221. 


104. 


TECHNIQUE    OF    THE    DANCE 


space.  In  the  Circle  of  the  Leg,  the  figure  is  a  circle  more  or  less 
regular. 

Following  the  direction  of  the  rotation,  the  Circle  is  outward 
or  inward.  To  fix  this  in  the  pupiVs  mind,  assume  that  the  active 
leg  is  in  the  II  on  the  toe  (Fig.  221,  1). 

The  circle  is  made  hy  commencing  the  rotation  hy  advancing  (Fig. 
221,  2). 

hike  the  Battements,  the  Circles  of  the  Leg  are  in  three  forms, — 
on  the  ground,  held,  and  Grand  Circle. 


Fig.,223.  Fig.  224.  Fig.  225.  Fig.  220. 

192.  Circles  on  the  Ground 

The  toe  describes  a  circle  on  the 
ground,  either  outward  or  inward. 
The  lower  leg  only  moves :  the  up- 
per leg  is  motionless. 

193.  Circle  of  the  Leg,  Held. — 
The  leg, — that  is,  the  upper  leg,  is 
tense  and  motionless  while  the 
lower  leg,  moinng  only  at  the  knee, 
describes  a  circle  in  space. 

An  analysis  of  the  circle,  in- 
ward, is  presented  in  the  photographic  reproductions  of  the  actual 
movement  in  Figs.  222,  223,  224,  225,  226,  227,  228,  from  which  it 
is  seen  that,  during  the  time  the  movement  is  being  executed  with  the 
active  leg,  the  supporting  leg  is  elevated  on  the  toe,  returning  to  the 
sole  of  the  foot  at  the  end  of  the  circle. 

The  inclination  of  the  body  to  the  right,  which  reaches  its  maxi- 


,Fig.  22t. 


Fig.  223, 


PREPARATORY    EXERCISES 


105 


mum  in  Fig.  226,  is  an  instinctive  reaction  opposing  the  movement 
of  the  leg  in  the  other  direction. 

194.  The  Grand  Circle  of  the  Leg — This  is  made  from  the  hip, 
executed  with  the  leg  stiff,  in  either  the  outward  or  the  inward  form 
(Fig.  191). 

Assume  that  the  dancer  stands  on  the  right  foot  in  Principle  II 
and  is  about  to  execute  the  Grand 
Circle  of  the  leg  outward.  From 
the  Principle  II  he  passes  to  Prin- 
ciple IV  at  the  rear  (Fig.  62)  bi/  a 
horizontal  movement:  from  the 
Principle  IV,  to  the  Principle  IV 
advanced  (Fig.  61  ajid  229)  and,  by 
a  half-circle  of  the  plane  deter- 
mined: finish  Principle  IV  forward 
to    Principle    II    by    a    horizontal  Fig.  229, 

movement, 

(^Geometrically,  the  toe  describes  two  half -circles,  one  horizontal, 
between  the  two  IV s,  and  passing  to  II,  the  other  inclines  at  an  angle 
of  4<4i° ,  to  a  horizontal  plane,  between  the  two  IV s,  passing  by  Posi- 
tion A.) 

195.  The  form  and  extent  of  the  movements  of  the  different  Circles 
of  the  Leg  cannot  be  represented  by  one  illustration. 


,Fig..230: 


Compare  Fig.  220  with  the  dancer  472.  The  identity  of  the 
moment  is  apparent  (282).  It  is,  therefore,  possible  that  the  little 
dancer  is  executing  the  Circle  of  the  Leg,  left  leg,  following  this  with 
a  Circle  of  the  right  leg,  sustained:  (321  and  Fig.  473). 

Comparing  the  series  of  photographs.  Figs.  222  to  228,  with 
Fig.  230,  which  presents  a  true  series,  one  is  struck  by  the  anal- 
ogy  existing  between  the  legs   of  these   grotesques   and   those    of 


I 


106  TECHNiaUE    OF    THE    DANCE 

the  dancer.  Allowing  for  the  difference  of  perspective,  the  likeness 
is  even  greater.  The  five  images  of  Fig.  230  represent  the  five  mo- 
ments of  the  Circle  of  the  Leg. 

196.  The  preceding  exercises,  Bending,  Separating,  Striking  (Bat- 
tement),  and  Circles  of  the  Leg,  are  essentially  simple  and  instinc- 
tive. Thej  do  not  appear  to  be  even  exaggerations  of  natural  move- 
ments. Anatomical  conditions  have  not  changed  with  the  centuries. 
To  make  the  joints  supple,  to  permit  the  legs  to  deflect  in  any 
direction,  to  hold  them,  or  to  dart  them  at  will,  the  Greek  dancers, 
like  ours,  had  recourse  to  exercises  which  are  enumerated.  It  is 
enough  to  prove  that  their  primary  studies  were  not  different  from 
ours. 

197.  Movements  of  the  Arms. — The  play  of  the  arms  is  a  part  of 
the  dancer  requiring  the  greatest  delicacy,  and  is  one  of  the  most  dif- 
ficult things  to  acquire.  The  dancer's  talent  Tnay  he  judged  by  the 
way  she  uses  her  hands,  and  this  is  even  more  true  of  hands  in  re- 
pose than  in  movement. 

The  arm  follows  the  same  rule  of  movement  as  the  leg. 

The  arm  consists  of  the  shoulder,  the  upper  arm,  the  lower  arm, 
and  the  hand;  the  movement  which  begins  at  the  shoulder  flows  down 
to  the  hand:  inversely,  the  movement  begins  in  the  hand,  working  up 
along  the  arm,  and  ends  at  the  shoulder,  taking  its  direction  from 
the  point  toward  which  the  hand  is  inflected,  vertical  or  horizontal. 
(Figs.  331  to  334.) 

The  same  directions  apply  to  the  inferior  members  as  to  the  su- 
perior ones.     (187.) 

198.  The  dancer  holds  the  arms  in  the  separation  which,  as  it 
develops,  passes  to  the  Position  of  repose  (Fig.  88),  to  all  the  oth- 
ers {Fig.  89  and  those  following)  which  are  a  chain,  or  series,  of 
different  Positions. 

The  movements  of  the  arms,  unimpeded  by  the  necessity  of  keep- 
ing the  equilibrium  which  limits  the  movements  of  the  legs,  are  ca- 
pable of  an  infinite  variety  of  poses.  They  are  also  important  in 
that  they  control  the  mimetics  of  the  dance,  which  may  be  even  more 
important  than  the  gymnastics.  It  is  difficult  to  make  rules,  because 
each  dancer  decides  the  hand-movements  for  herself. 

The  only  general  observation  to  be  made  regarding  the  arms  as 


PREPARATORY  EXERCISES  107 

they  are  used  in  our  modern  dance  is  that  they  must  get  their  dra^ 
matic  expression  hy  means  of  their  curving  motions. 

There  is  also  the  question  of  the  part  they  play  in  holdvng  the 
whole  body  in  balance.  There  is  no  doubt  that  motions  sometimes 
begin  in  the  arms  and.  spread  to  the  whole  body  (260).  But  while 
their  action  is  mechanical,  they  must  always  add  grace  to  the  dance, 
or,  as  the  Greeks  expressed  it,  eurhythmy. 

199.  The  essential  differences  between  the  Greek  dance  and  ours, 
while  the  arm-movements  of  the  French  classic  dance  are  limited  to 
certain  conventional  forms,  which  have  little  intellectual  expression 
in  them,  the  Greeks,  who  were  more  dramatic  than  we  are,  gave 
greater  mimetic  value  to  arm  and  hand  movements,  making  them 
not  only  more  varied,  but  also  less  artificial. 

In  our  dance,  the  arms  may  circle  above  the  head,  with  the  torso 
animated,  to  produce  a  graceful  equilibrium,  which  is  supposed  to 
give  enough  variety,  and  about  all  that  is  proper  for  a  dancer  to  in- 
dulge; a  few  conventional  gestures  of  this  kind  form  part  of  the 
education  of  every  dancer. 

In  the  Greek  dance,  on  the  contrary,  the  hands  spoke:  being  at 
perfect  liberty,  they  sang  in  lovely  curves ;  though,  if  occasion  called 
for  it,  they  could  be  brusque,  angular,  sharp.  The  Greek  dancer 
cared  less  to  exhibit  beautiful  curves  than  to  be  expressive.  He 
or  she  must  be  able  to  make  all  of  the  gestures  that  possibly  could 
be  used  in  the  dance  (144  to  149),  all  of  the  traditional  gestures, 
which  were  understood  and  translated  by  the  spectator.  There 
was  a  liturgy  of  gesture  and  movement. 

Enough  of  their  work  has  been  preserved  to  show  that  these 
movements  of  the  Greek  dance  cannot  be  reduced  to  a  set  of 
formulas. 

200.  Movements  of  the  Torso  and  the  Head — The  movements  of 
the  body  and  the  head,  are,  both  in  the  matter  of  their  radius  and 
their  direction,  strictly  limited  by  anatomical  conditions.  The  posi- 
tions mentioned  (150,  Figs.  182  to  188;  158,  Figs.  194  to  198)  mark 
the  extremes  between  which  the  head  and  torso  can  act.  It  is  not 
easy  to  reconstruct  in  thought  the  mechanism  and  the  forms  of  the 
natural  movements.  In  the  movement  of  the  head  and  the  body, 
the  liberty  of  the  dancer  is  curtailed.    The  difficulty  is  not  in  them- 


108  TECHNIQUE    OF    THE    DANCE 

selves^  hut  in  their  harmonious  combination  in  connection  with  the 
leg  movements, 

201.  The  positions  of  the  head  and  the  torso  are,  because  of 
anatomical  conditions,  the  same  in  all  ages  (151,  159).  The  same 
thing  may  be  said  of  their  movements ;  their  mechanism  cannot 
change. 

Particularly  in  the  Greek  dance  it  is  well  to  lay  stress  upon  the  use 
of  the  movements  which  join  positions  5  and  4  of  the  torso  and  the 
head  (150,  155,  156,  158,  162,  163).  The  Greek  dancers  who  carry 
the  head  or  the  torso  forward,  who  sweep  the  body  about,  or  throw 
back  the  head,  are  numerous,  through  all  periods  of  Hellenistic  art, 
adding  more  life  and  more  brilliancy  to  the  dance.  Were  these 
things  originated  in  the  Dionysian  cult?  Did  they  express  the  ex- 
cesses and  the  disgraces  of  that  insane  orgy.?  It  must  be  taken  into 
consideration  that  not  all  of  these  dances  were  the  exclusive  property 
of  the  companions  of  the  bacchic  thiase  (Figs.  199,  450,  469,  474, 
476). 

202.  Combinations  of  Movements. — The  combination  of  Move- 
Tnents  of  the  Legs,  ArrnSy  Body  and  Head  remains  to  be  practiced. 
Only  experience  enables  the  dancer  to  learn  their  proper  correla- 
tions, which  are  simultaneous,  which  successive,  which  contrasting. 

In  the  Walk  and  the  normal  Run  the  Opposition  is  produced  by 
instinct  (63,  70),  between  the  legs  and  arms.  The  dancer  obeys  an 
instinctive  reaction  produced  not  only  between  the  superior  and  in- 
ferior members,  but  also  between  the  members  and  the  Torso,  between 
the  members,  the  Torso  and  the  Head.  The  rule  is  modified  to  suit 
the  occasion,  but  it  always  conforms  to  the  natural  laws  which  are  the 
foundation  of  all  grace  and  equilibrium. 

203.  The  Greek  dancers  obeyed  the  same  laws  and  the  same  cus- 
toms. The  eurhythmy  of  the  walk  may  not  be  perfectly  embodied  in 
the  crossed  movements  which  modern  science  has  enabled  us  to  pho- 
tograph (Figs.  14,  26,  and  following).  But  the  eurhythmy  of  the 
dance,  if  one  may  judge  by  the  great  number  of  representations  of  the 
dance,  was  due  in  part  to  Opposition  (171, 173).  The  rhythm  seen 
corresponded  to  the  rhythm  heard:  the  same  Greek  word  expressed 
both  kinds  of  rhythm.  The  Greeks  understood  the  conditions  of 
equilibrium  in  movement,  and  applied  it  in  most  exquisite  nuances. 


PEEPARATORY    EXERCI^S  109 

204.  There  is  one  kind  of  Greek  dance  that  quite  excludes 
eurhythmy:  the  orgiastic  dances  (400),  even  when  not  positively 
repulsive,  are  most  bizarre  and  are  lacking  in  harmony.  Here  every 
movement  goes  beyond  the  bounds  of  mimetics :  the  dancer  expresses 
by  the  contortions  of  the  body  and  obscene  gestures,  certain  sym^ 
bolic  ideas.  The  cult  of  Rhea  and  the  cult  of  Dionysos  added  one 
permanent  contribution  to  the  Greek  dance, — the  arrhythmic  dance. 


THE  TECHNIQUE   OF   THE   DANCE 

111, — Tempos  and  Steps 


205.  Our  dancers  do  not  move  over  a  wide  space:  they  even  stand 
in  one  place,  with  the  legs  in  the  same  pose,  neither  advancing,  re- 
treating, nor  turning;  one  would  suppose  them  incapable  of  taking 
a  Step, 

But  they  do  step,  always  in  one  of  two  directions  indicated  in 
Fig.  231,  a,  h,  c,  d. 

In  advance  (a),  to  the  rear  (b),  laterally  (c),  obliquely  (d). 
The  dancer  is  supposed  to  face  (a). 
The  space  traveled  by  the  dancer  is 
represented  by  a  line  to  the  right, 
by  a  broken  line  or  a  curved  line,  the 
pattern  traced  by  the  feet  on  the 
ground  being  often  somewhat  com-  ( 
plex. 

The  dancer  is,  therefore,  moving 
in  place,  like  the  soldier,  who,  com- 
manded to  "mark  time,"  marches 
without  advancing, 

206.  Whether  the  dancer  walks 
whirls,     these 


or  runs.  Leaps  or 
motions  are  spoken  of  as  Steps,  a  word  which  also  designates  the 
every-day  walk.  Thus,  the  word  has  but  one  meaning,  but  a  wide 
one;  it  applies  to  a  large  number  of  elementary  movements  which  are 
as  simple  as  the  walk,  and  which  are  combined  to  form  certain  fig- 
ures on  the  ground  or  in  the  air. 

These  movements  are  called  the  Step,  or  the  Tempos  of  the  Step. 

207.  When  we  speak  of  the  Minuet  Step,  or  the  Bourree  Step,  or 
the  Basque  Step,  or  the  Valse  Step,  we  thereby  designate  a  group  of 
these  elementary  movements  which  are  combined,  and,  in  combina- 
tion, are  spoken  of  as  a  Step.  The  Valse-Step,  for  instance,  is  a 
combination  of  six  Tempos,  and  consists  of  six  elementary  movements. 

It  must  be  borne  in  mind  that  the  word  Tempo,  as  applied  to  the 
dance,  is  to  be  considered  as  synonymous  with  movement.    A  Tempo 

113 


114j  technique  of  the  dance 

Battu  is  an  abbreviated  term  meaning  a  more  or  less  complicated 
movement  of  the  legs  in  the  Battement. 

208.  The  Tempo  on  the  ground  and  the  Tempo  in  the  air  must  not 
be  confused;  the  first  is  a  movement  executed  by  the  dancer  without 
leaving  the  ground;  the  second  supposes  the  dancer  to  dart  through 
the  air  with  a  movement  more  or  less  high,  by  Toeans  of  a  leap,  the 
feet  being,  both  of  them,  off  the  ground. 

209.  A  great  number  of  movements  are  executed  in  double  form, 
on  the  ground  and  in  the  air, 

210.  It  is  usual  to  study  Tempo  before  step,  because  it  is  the  Tempo 

that  controls  the  step. 

A.  B  \ 

-r I  We  shall  not  proceed  in 

j  this   logical   order,   but 

.- ,                           iJ^Liir  ^^11  compare  the  Tem- 

.^.r...L..j^..  j                   /■     ,       ....    j  pos    and    the    steps    to 


\  1  PAS  '. ^  Vl  PAS    those  of  the  Greeks,  pre- 

.., I  (\  j ./  /  senting  a  number  of  sim- 

•5- PAS   {    i#    I  I   ■  •••       I       •■     I  P^^    examples,     without 

'iv  TlPflR  tri/ing  to  grade  them. 

I  «  The  practical   study 

Fig.  232.  of    the    dance   demands 

rigorous  application. 
This  book  will  present  no  such  plan  of  study,  but,  in  its  incomplete 
way,  will  outline  a  course  of  study  (326)  with  certain  advice.  {See 
page  55.) 

211.  The  Step  and  the  Position  of  the  Feet. — The  dance  Step,  like 
the  walk,  is  made  by  changing  the  weight  from  one  leg  to  the  other, 
leaving  one  free. 

When  considered  separately,  the  parts  of  the  Step  appear  quite 
simple,  differing  from  the  normal  walk  in  that  the  feet  are  turned 
(97)  sidewise,  and  that  the  length  of  the  Step  never  exceeds  the 
length  of  one  of  the  feet. 

Figure  232  shows  («)  the  position  of  the  feet  in  the  normal  walk; 
in  (6)  is  shown  the  position  of  the  feet  in  the  dance-walk.  Explana- 
tion is  not  necessary.  The  relative  shortness  of  the  step  in  the 
dance-walk  is  clearly  indicated.  One  foot  is  separated  from  the 
other  by  its  own  length.     An  entire  Step  is   the  distance  which 


TEMPOS    AND    STEPS  116 

separates  the  two  IV s  on  the  same  foot  (IV  in  advance  and  IV  to  the 
rear).     A  demi-Step  is  one-half  as  long  (Fig.  232,  B). 

212.  The  Step  changes  through  three  positions  of  the  feet 
(102). 

The  position  of  the  feet  on  the  sole. 
The  position  of  the  feet  on  the  half -toe. 
The  position  of  the  feet  on  the  toe. 

213.  Our  dancers  do  not  wear  heels.  They  are,  at  best,  an  imi- 
tation of  the  exquisites  of  the  Directoire,  and  they  should  never  re- 
turn to  favor.  The  high  heels  of  the  seventeenth  and  the  eighteenth 
centuries  throw  back  the  instep  and  de- 
press the  toe,  giving  an  affected  sort  of 
elegance,  without  having  the  true  ele- 
gance which  every  dancer  should  en- 
deavor to  acquire  (180,  182)  ;  the  dancer 
"who  wears  high  heels  may  find  the  toe 
position  easy,  but  many  others  must  be  ^^ 

given  up  on  account  of  the  artificial  pose 

into  which  the  feet' are  thrown,  so  that  the  whole  gymnastic  of  the^ 

dance  must  be  changed  to  accommodate  the  fashion. 

The  ancient  Step  allowed  movements  more  rapid  and  of  greater 
freedom,  and  the  muscles  of  the  feet  were  correspondingly  more  ac- 
tive and  more  resistant. 

By  suppressing  the  heels,  at  the  commencement  of  the  present  cen- 
tury (nineteenth),  the  feet  of  our  dancers  were  enabled  to  resume 
their  natural  position,  thus  regaining  the  stability  of  the  Greek 
dancers  (217). 

214.  The  three  forms  of  pose  of  the  feet  (on  the  sole,  on  the  half- 
toe,  and  on  the  toe)  are  shown  on  the  figures  of  dancers  taken  from 
the  paintings  and  sculptures. 

It  must  be  noted  that  the  vases  and  reliefs  of  the  archaic  period 
are  not  always  to  be  taken  as  authoritative,  because  the  primitive 
technique  of  the  early  artists  made  it  impossible  for  them  to  depict 
complex  positions  of  the  feet  of  dancers  in  the  many  forms  of  walk- 
ing and  running  (64,  66^ — 76  to  84).  The  result  is  confusion  in 
all  work  prior  to  the  end  of  the  sixth  century  B.  C. 

There  are  two  other  postures  of  the  feet  to  consider. 


116 


TECHNIQUE    OF    THE    DANCE 


Fig.  234. 


iFig.  235. 


215.  Pose  of  the  Foot  on  the  Half-toe. — Figs.  234,  235,  236, 
237  are  much  Uke  Figs.  82,  83,  85,  585,  589,  590,  etc.,  and  are 
examples. 

It  is  remarkable  that  the  greater  number  of  the  "archaisant"  figures 
representing  Satyrs,  hours,  Bacchants,  as  well  as  the  superior  divini- 
ties, walk  on  the 
half-toe.  This  is 
their  special  man- 
ner of  dancing.  On 
one  of  the  more 
ancient  monu- 
ments, the  frieze 
from  the  temple  at 
Samothrace,  built 
in  the  fourth  cen- 
tury B.  C,  there  is  found  a  particular  instance  (Louvre,  XII  salon). 
The  long  file  of  dancers,  who  hold  each  other's  hands,  and  Step  to  the 
rhythm  of  the  tambourine,  advance  on  the  half-toe.  The  sculptor 
has  chosen  to  present  these  figures  stiff  and  sheathed  in  tightly- 
wrapped  tunics ;  certainly  an  imitation  of  an  earlier  temple.  He  has 
indubitably  copied  the  postures 
of  the  feet  from  primitive  work. 
The  archaic  sculptors  show, 
neither  in  high  nor  in  low  relief, 
the  same  walk  on  the  half-toe. 
But  the  vases  of  the  sixth  cen- 
tury B.  C.  show  that  the  artists 
of  that  date  occasionally  had 
recourse  to  a  similar  formula 
(Figs.  234,  235).  At  the  end 
of  the  fifth  century  B.  C.  it  is 
employed  on  some  bas-reliefs  of 
Trysa  (Figs.  490,  491),  and  applied  to  figures  that  whirl  about  the 
doors  of  the  temple.  It  is  more  than  likely  that  the  restorer  of  the 
temple  at  Samothrace  took  an  earlier  temple  for  his  model,  and  that 
this  is  the  reason  that  his  dancers  walk  on  the  half-toe. 

Whatever  the  origin  of  the  art, — and  it  is  of  very  ancient  date, — 


Fig.  236. 


Fjg.  23T. 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS  117 

as  depicted  on  the  sculptures,  the  dance-walk  on  the  half-toe  ap- 
pears at  nearly  all  periods,  from  the  archaic  to*- the  .Roman,  but,  in 
the  later  work,  became  an  affectation  by  which  the  figures  can  be 
accurately  placed. 

216.  Position  of  the  Foot  on  the  Toe. — The  Step  on  the  toe  is 
more  rarely  found  on  the  sculptured  figures  than  the  Step  on  the 
half-toe,  but  it  was,  without  doubt,  used  by  the  Greeks. 

A  few  terra-cotta  figurines  of  the  Hellenistic  period  (17)  rep- 
resent persons  with  wings,  who  seem  to  be  posed  on  the  toe ;  but  this 
is  only  an  illusion.  The  figurines,  intended  to  be  suspended,  were 
not  placed  in  the  toe  position  in  order  to  make  them  appear  to  be 
walking  (383,  384).  .      > 

217.  The  feet  of  the  dancers  on  the  sculptured  figures  are  gener- 
ally bare:  this  is  another  convention,  and,  in  a  number  of  cases, 
presupposes  shoes.  It  is  likely  that  the  sandals  were  omitted  in 
order  to  show  the  flexions  of  the  feet  more  perfectly  than  could  be 
done  if  shoes  were  worn. 

Examples  of  the  heavy  and  rigid  soles  are  very  rare  (Fig.  453). 

Thus,  it  is  easy  to  see  that  the  Greek  dancers  rested  their  feet  on 
the  ground  in  the  same  manner  as  do  the  modern  French  dancers: 
whatever  shoe  was  worn  was  perfectly  flexible. 


DESCRIPTION  OF  SOME  OF  THE  TEMPOS   AND   STEPS 

218.  The  Slide — The  toe  of  the  foot  skims  over  the  ground.  This 
is  one  of  the  most  wonderful  of  all  the  movements  on  the  ground. 
The  slide  may  be  made  in  any  direction  (205). 

219.  The  Chasse  {Fig.  ^SH). —Suppose  that' the  right  foot  of  the 
dancer  is  ready  to  slide  in  IV  advanced.  Then,  in  place  of  carrying 
forward  the  left  foot,  it  is  moved  up  to  the  other  in  III,  with  an  ab- 
rupt movement,  the  whole  constituting  a  Chasse  forward. 

In  the  Chasse  to  the  rear  the  movement  is  inverted. 

Example  of  a  Chasse  to  the  side :  the  dancer  is  in  II  fundamental. 
To  Chasse  to  the  right,  carry  left  in  III  back  of  the  right  foot, — 
otherwise  speaking,  set  the  left  foot  back  of  the  right  foot — and  it 
immediately  leaves  the  right  in  II. 


118 


TECHNIQUE    OF    THE    DANCE 


The  Chasse  to  the  left  is  made  by  reversing  the  process. 
To  learn  the  simple  Chasse^  re-commence  on  the  same  leg,  then 
Chasse  with  both  legs  alternately/,  then  successively.      {The  move- 
ment  executed   by  infantry   at    the   command    ^'change    the   step'' 
is  related  to  the  Chasse.) 

220.  The  Coupe. — The  Coupe  is  the  movement  of  the  leg  which,  in 
coming  down,  Chasse s  the  other.  It  differs  from  the 
Chasse  in  that  the  leg  which  Chasses  the  other  touches 
it  in  the  air  instead  of  on  the  ground  and  that  the 
supporting  leg  is  lifted  more  or  less  high  on  the  toe 
or  half-toe. 

Figs.  239  to  243  give  a  photographic  analysis  of  a 
Coupe  of  the  left  leg. 

Fig.  239 :    The  left  leg  is  lifted  at  the  rear. 
Fig.  240:    The  left  leg  descends:  the  right  leg  is 
lifted  on  the  toe. 

Fig.  241 :  The  left  leg  joins  over  the  right  leg  making  the  Chasse, 
and  at  once  separates  (179). 

Figs.  242  and  243 :  The  right  leg  separates  in  demi  IV  outward. 
Figs.  244  to  247  are  an  analysis  of  the  Coupe  forward  with  the 
left  leg. 

Fig.  244 :  The  left  leg  is  separated  in  demi  IV  outward. 
Fig.  245:  The  left  leg  descends:  the  right  heel  is  lifted. 


Fig.  238. 


Fig.  239.  Fig.  240,  fj^    241. 


Fig.  242. 


Fl^  2k3. 


Fig.  246 :  The  left  leg  is  posed  forward  of  the  right  leg,  which  is 
lifted  on  the  toe. 


Plate  II. 


10 


11 


12 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


119 


Fig.  247 :  The  right  leg  is  lifted  and  back, 

221.  Fouette — Fouette  is   the  action  of  the  leg  which,  without 
touching  the  ground,  makes  a  rapid,  zvhip-like  movement 
An  analysis  of  this  movement  is  given  in  Figs.  248  to  251. 
Fig.  248 :  The  left  leg  is  separated  in  demi  IV  advanced. 


Fig.  244.^ 


Fig.  245. 


Fig.  246. 


Fig.  247. 


Figs.  248  and  250:  The  Fouette  is  produced  hy  a  movement  of 
only  the  lower  leg,  the  upper  leg  remains  motionless. 

Fig.  251 :  Finish  of  the  Fouette. 

There  is,  of  course,  the  Fouette  forward :  in  it,  the  active  leg  is  in 
front  of  the  supporting  leg. 

The  Fouette  takes  different  forms.    Example:   What  is  called  the 


Fig.  248. 


Fig.  249. 


Fig.  250., 


Fig.  251. 


Fouette  to  the  side  is  made  thus:  the  leg  leaves  the  V  forward  and 
separates  successively  through  the  three  principal  positions  of  the 
IV  advanced,  of  the  II  and  the  Arabesque,  at  which  it  stops.  The 
movement  is  rapid  and  unrestrained. 

The  Fouette  may  be  made  once  or  repeated  as  a  series. 


120 


TECHNIQUE    OF    THE    DANCE 


222.  Jete  (the  Throw) — The  Jete  is  related  to  the  leap  which  is 
part  of  the  run  (69).  It  consists  of  a  leap  which  throws  the  weight 
of  the  body  on  the  leg  which  is  about  to  touch  the  ground,  the  other 
leg  being  more  or  less  lifted,  and  bent  back  at  the  knee. 


Fig.  252. 


Fig.  253. 


Fig.  254. 


Fig.  255. 


Fig.  256. 


When  the  leg  is  thrust  forward,  it  is  called  Jete  over. 

The  Figs.  252  to  256  are  photographs  of  the  Jete  at  different 
stages. 

Fig.  252:  The  right  leg  is  raised  at  the  rear;  the  left  leg  rests  on 
the  ground,  and  is  bent  for  the  first  part  of  the  leap. 


Fig.  257. 


Fig.  258. 


Fig.  259. 


Fig.  260., 


Fig.  261. 


Fig.  253 :  The  right  leg,  knee  bent,  is  carried  in  advance  to  make 
the  Jete  over;  the  heel  of  the  supporting  leg  is  lifted  to  continue  the 
movement  to  the  position  which  precedes  the  leap. 

Fig.  254:   {Essential  moment).     Leap,  or  moment  of  suspension 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


121 


(69).  The  dancer  is  descending  on  the  right  leg  and  lifting  the  left 
at  the  rear. 

Fig.  2^5:  The  right  leg  descends  on  the  toe:  the  left  leg  is  lifted 
at  the  rear. 

Fig.  256 :  The  heel  of  the  right  leg  is  lowered;  the  left  leg  is  lifted 
as  high  as  it  is  intended  to  lift. 


,Fig.  202. 


Fig.  263. 


Fig.  264. 


Fig.  203. 


Fi|?.  260 


Fig.  267. 


Fi§.  2§8. 


Fig.  269, 


The  Figs.  257  to  261  are  an  analysis  of  the  Jete  over,  with  the 
left  leg,  and  their  moments  correspond  with  those  of  the  figures  just 
analysed. 

Jete  is  called  the  under  Jete  when  the  descending  leg  is  the  one  at 
the  rear:  in  that  case,  the  other  leg  is  lifted  in  front.  The  Jete 
over  is  executed  backward. 

223.  The  Jete  may  he  made,  not  only  forward  or  hack,  hut  later- 
ally, hy  a  leap  to  the  side. 


122 


TECHNIQUE    OP    THE   DANCE 


Figs.  262  to  269  analyse  a  Jete  over,  to  the  left. 
The  Figs.  ^66  to  269  analyse  a  Jete  over,  to  the  right. 
The  two  series  explain  themselves. 

224.  The  Slide,  the  Chasse  and  the  Coupe  are  movements  on  the 
ground;  the  Jete  is  a  movement  in  the  air;  the  Fouette  is  executed 
on  the  ground  or  in  the  air,  depending  upon  whether  the  Step  is  on 
the  ground  or  a  leap. 

225.  In  the  analysis  of  the  modern  dance,  by  means  of  photo- 


FiK.270^ 


.Fig.  271. 


FiR.  272. 


graphs,  the  figures  are  all  made  to  face  the  spectator.  In  the  case 
of  the  figures  taken  from  the  paintings  and  sculptures  of  ancient 
Greece,  this  is  manifestly  impossible.  Their  resemblance  to  the 
modern  dance  is  chiefly  in  the  leg-movements.  In  comparing  them 
with  the  modern  photographs,  the  perspective  is  entirely  different. 

The  representations  in  sculpture  are  seldom  arranged  in  a  series 
(269).  Often  a  movement  is  indicated  in  its  characteristic  moment, 
— a  moment  when  there  would  be  no  possibility  of  confounding  the 
movement  with  any  other. 

It  is  impossible  to  show,  in  one  picture,  either  the  Chasse  or  the 
Coupe.  They  are  dependent  upon  the  most  simple  movements,  but 
they  have  no  climacteric  moment  (283).  Of  these  there  is  no  trace 
found  upon  the  paintings  or  reliefs. 

226.  The  Slide  (218)  is  easy  to  follow  from  one  picture.     The 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


123 


Satyr  (Fig.  270)  carries  his  right  foot  forward  in  IV,  touching  the 
ground  lightly  with  his  toe, — there  is  no  doubt  about  this   repre- 


Fig.  273. 


Fig.  274. 


senting  a  Slide.     Fig.  271,  which  is  small  and  dainty,  expresses  the 
same  thing.     The  interpretation  of  Fig.  272  is  facilitated  by  the 


Fig.  275. 


Fig.  276. 


inclination  of  the  body  in  just  the  pose  needed  for  the  Slide,  as 
though  he  were  about  to  spring. 

Of  the  Slide  made  simultaneously  with  the  two  feet  the  Step  is  best 
explained  by  Figs.  273,  274,  275,  276,  199,  A,  399  and  400. 


124 


TECHNIQUE    OF    THE    DANCE 


The  change  of  pose  is  represented  by  Fig.  273  to  much  the  same 
pose  in  Fig.  274,  the  dancer,  whose  body  is  inchned  backward,  shdes 
on  the  half-toe  on  both  feet  at  the  same  time ;  the  left  leg,  which  is  in 
IV  forward  in  Fig.  273,  passes  in  IV  backward  in  Fig.  274;  the 


Fig.  277. 

movement  of  the  right  leg,  simultaneously,  is  inverted.     The  Satyr 
(Figs.  275,  276)  executes  exactly  the  same  movement. 

227.  As  said  in  another  paragraph,  it  is  seldom  that  a  series  of 
figures  in  successive  movements  is  found  in  Greek  art ;  one  of  the  few 
examples  is  shown  in  Fig.  277. 

This  is  a  grotesque  dance-game,  played  by  four  clowns,  each  of 
whom  is,  in  turn,  the  victim  and  the  actor:  it  looks  as  though  the 
point  of  the  game  were  "step  on  your  neighbour."    It 
is  a  dance,  though  but  one  remove  from  an  absurd  bit 
of  mimicry. 

The  two  extremes  of  action  are  indicated  in  A-C, 
for  one  part,  and  in  B-D  for  the  other.  These  are 
variable  "instantaneous"  pictures,  analogous  to  the 
modern  photographs,  and  are  made  at  four  mo- 
ments,— in  pairs, — a  unique  thing  (289). 

The  movement  is  a  Fouette,  to  the  rear,  with  the 
left  leg  (221).  Compare  with  the  series  of  dancers  248  to  251,  and 
follow  the  difference:  the  dancer  in  the  photographs  makes  the 
Fouette  oblique,  IV  outward  (Fig.  248),  in  the  Position  marked  by 
Fig.  251;  the  four  men  Fouette  right,  principle  IV  forward  (Fig. 
277,  A  and  C),  in  the  position  B-D  of  the  same  figure. 

228.  The  dancer  represented  by  Fig.  278  belongs  to  the  same 
group  as  the  preceding;  the  Position  of  the  legs  is  identical  with 


Fig.  278.i 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


125 


the  Position  B-D  of  the  Fig.  277.     This  shows  that  he,  too,  must  be 
executing  a  Fouette  to  the  rear,  but  on  the  right  leg. 

229.  The  mechanism  of  the  Jete  i^  reduced  to  a  leap  terminating 
on  the  same  leg  (222),  the  other  leg  being  lifted  and  curved  back- 
ward from  the  knee.     The  different  moments  of  the  Jete  were  quite 


Fig.  279^ 


fig.  280. 


Fig.  281. 


perceptible  to   the   eye,   and   the   Greek   artists    copied   them   with 
wonderful  fidelity. 

Figs.  279,  280  and  281  corre- 
spond to  the  three  essential  mo- 
ments (284)  of  an  over  Jete  on 
the  left  leg. 

Fig.  279:  The  flexion  of  the 
leg  prepares  for  the  leap ;  the 
leap  begins  by  raising  the  heel. 

Fig.  280:  Period  of  suspen- 
sion. 

Fig.  281 :  The  dancer  comes 
down  on  left  leg ;  the  right  leg  is 
lifted  and  bent  back  at  the  knee. 

230.  The  artists  were  pleased  to  exaggerate  the  movement  of  the 
leg  which  has  the  knee  bent  back  at  the  end  of  the  Jete  (Fig.  282). 
A  charming  cameo  (Fig.  579)  shows  the  exact  measure  of  the  move- 
ment.    Fig.  283  is  likewise  a  good  type  of  moderate  action. 

231.  Tempo  Increasing  (Ballonnes) — One  leg  increases  movement 
when  advanced  in  the  pose  on  the  toe,  describing  an  arc  in  the  air. 


Fig.  282. 


Fig.  283. 


126  TECHNIQUE    OF    THE    DANCE 

in  which  the  leg  seems  to  pass  over  a  ball.     The  Tempo-Ballon  is 
applied  to  a  variety  of  steps.     Example,  Jete-Ballonne. 

232.  This  movement  cannot  be  represented  by  a  single  image,  but 
if  the  paintings  and  reliefs  give  no  information,  the  texts  lend  them- 
selves to  plausible  comparisons  between  the  movements  depicted  and 
the  Tempo-Ballon  of  our  dancers. 

233.  Balance  Steps — This  division  comprises  steps  of  various 
forms,  of  which  the  Tors^o,  Head  and  Arms  provide,  hy  their  curving 
movements,  a  rhythmic  accompaniment  to  the  movements  of  the  feet. 

The  oscillation  may  he  toward  either  side  of  the  vertical  line  of 
equilibrium,  their  two  extreme  moments  being  in  opposition.  At  one 
of  these  moments  the  right  arm  is  lowered  and  the  left  arm  raised. 
So,  too,  the  Torso  maintains  its  equilibrium  by  bending  to  the  one 
side  or  the  other  (277,  280). 

Sometimes  the  arms  alone  or  the  Torso  alone  gives  the  Balance: 
sometimes  they  are  combined.  Then  the  head  begins  to  take  part  in 
the  opposition  (167).  All  of  the  oppositions  must  be  made  in  the 
same  Tempo  as  the  leg  movements. 

234.  Examples  of  the  Balance  Steps  are  numerous:  Figs.  284, 
285  suffice  to  fix  the  idea. 

The  moment  (282)  of  Fig.  284  is  furnished  by  the  antique  statue 
called  the  Faun  of  Pompeii.  Fig.  285  shows  a  reconstruction  of  the 
same  statue  in  the  opposing  pose. 

The  following  analysis  of  the  two  figures  may  be  of  assistance: 


(1) 

Fig.    1 
284 


(2) 

Fig. 
285 


right  leg  advanced: 
body  inclined  to  the  right 
right  arm  low: 
left  arm  high. 

right  leg  at  rear: 
body  inclined  to  the  left: 
right  arm  high: 
left  arm  low. 


The  Step  of  the  dance  is  executed  by  successive  Balances,  right 
and  left,  combined  in  a  rhythmic  walk  on  the  half-toe. 

235.  The  advance  to  the  play  of  the  castanets  (Fig.  286)  is  re- 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


127 


lated  to  that  of  the  preceding  dancer,  except  in  the  matter  of  some 
secondary  details,  such  as  the  play  of  the  hands  and  the  Position 
of  the  head. 

It  is  easy  to  follow  the  analogy  between  these  dancers  (Figs. 
284,  285)  and  Figs.  Ill,  137,  177,  188,  189,  190,  etc.,  representing 
one  and  the  same  moment.     The  imagination  can  supply  the  moment 


Fig.  284. 


Fig.  285. 


of  opposition  in  every  one  of  the  figures,  and  the  form  of  the  move- 
ment which  unites  the  two  extreme  moments. 

236.  Tempos  and  Steps  on  the  Toe. — The  Positions  and  the  move- 
ments on  the   toes   cannot   he  practiced   hy   the 

dancer  except  after  long  and  painful  preparatory 
exercises,  without  danger  of  dislocation. 

The  terminal  phalange  of  the  toe  must  acquire 
strength  before  it  can  he  used  to  support,  not  only 
the  foot,  hut  the  whole  weight  of  the  hody. 

Rise  on  the  toe  and  stand  firmly  in  all  of  the 
Positions;  pass  from  one  Position  to  another;  pass 
from  a  Position  on  the  sole  to  a  Position  on  the 
toe,  and  return  to  the  first,  etc.  The  two  series  of 
photographs  give  an  analysis  of  the  exercises  on 
the  toes. 

237.  Leaving  II,  on  the  Toes. 

Fig.  287:  The  Preparation:  the  Position  is  here  the  F,  left  ad- 
vanced. 


128 


TECHNIQUE    OF    THE    DANCE 


Fig.  288 :  The  two  heels  are  raised  at  the  same  time. 

Fig.  289:  The  two  legs  separate  and  slide  on  the  toes:  the  heels 
are  lifted  more  and  more. 

Fig.  290 :  The  two  legs  are  in  11,  on  the  toes. 

Fig.  291 :  The  two  legs  reapproach,  and  slide  on  the  toes :  heels 
low. 

Fig.  292 :  The  legs  cross :  the  heels  are  lowered  more  and  more. 


Fig    291. 


Fig.  292. 


Fig.  293, 


Fig.  293 :  Held  steadily,  left  advanced,  returning  to  Position, 

238.  Rising  on  the  Toes. 

Fig.  294:  Preparation:  left  forward:  Position  hent. 

Fig.  295:  The  two  heels  are  lifted;  legs  separate. 

Fig.  296:  The  dancer  rises  on  the  right  leg:  the  left  upper  leg  is 
lifted;  the  left  lower  leg  is  hent  hack. 

Fig.  297:  The  right  leg  remains  raised  on  the  toe:  the  left  leg 
is  bent  backward,  with  the  toe  higher  than  the  knee. 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


129 


Fig.  298:  The  upper  leg  and  the  lower  leg  (left)  descend. 
Fig.  299 :  The  left  leg  passes  to  the  rear. 
Fig.  300:  The  left  foot  posed  at  the  rear  in  IV, 
Fig.  301 :     The  dancer  hends  in  V  to  recommence  on  the  other 
foot. 

Fig.  302:  Beginning  of  the  Lifting  the  toe  of  the  left  foot. 

239.  Steps  on  the  Toes. — Thei/  are  generally  short  steps,  on  ac- 


Fig.  294. 


Fig.  295. 


Fig.  296. 


Fig.  297. 


Fig.  298. 


Fig.  299. 


Fig.  300. 


Fig.  301. 


Fig.  302. 


count  of  the  position  of  the  feet.  Whether  used  in  walking,  running, 
or  turning,  they  hold  to  their  own  characteristics.  Figs.  306  to  309 
give  an  analysis  of  the  step  used  in  walking  on  the  toes:  they  are 
executed  by  a  dancer  in  Greek  tunic,  and  serve  to  interpret  Figs. 
303  and  304. 

240.  The    Greek    dancers    practiced    the    Tempos    on    the    toes. 
Therefore,  they  must  have  used  exercises  much  like  those  of  the 


130 


TECHNIQUE    OF    THE    DANCE 


Escape  on  the  toes  and  the  Rising  on  the  toes  of  our  dancers.    Fig. 
305  shows  a  sort  of  lift  on  the  toes,  on  the  left  leg. 

241.  Fig.  303  represents  one  of  the  hierodules,  or  daughters  of 
Zeus,  wearing  the  kalathos,  which  belongs  to  a  series  of  early  date: 
she  advances  with  small  Steps  on  the  toes,  head  bent  forward,  as 
though  she  were  watching  her  steps.     Figs.  306,  307,  308  and  309 


Fig.  303. 


Fig,  304. 


are  a  reconstruction,  by  means  of  photography,  of  the  different  mo- 
ments of  the  same  Step,  and  show  how  the  feet  were  held  in  all  move- 
ments of  this  nature. 

Fig.  306 :  Initial  Position :  III  or  V  on  the  toes. 

Fig.  307  :  First  step :  right  leg  advanced. 
Fig.  308 :  Second  step :  left  leg  advanced. 
Fig.  309 :  Third  step :  right  leg  advanced. 
Fig.  303  corresponds  in  moment  to  Fig.  307, 
the  same  as  Fig.  304.     A  different  aspect  is  pre- 
sented by  the  modern  dancer  from  this  daughter 
of  Zeus,  through  turning  the  feet  sidewise,  ac- 
cording to  a  rule  already  stated  (97).     The  dif- 
ference in  costume  explains  a  part  of  the  unlike- 
ness.     The  long  tunic  of  this  dancer  is  draped 
according  to  the  fashion  of  the  fifth  century  B.  C.  (Figs.  138,  155, 
161  and  Plate  IV). 

242.  At  first  sight  the  Figs.  310  and  311  would  seem  to  be  walk- 
ing on  the  toes.     The  first  is  walking,  the  second  makes  the  running 


Fig.  305. 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


131 


Step  on  the  toes.    The  dancer  Jetes  on  the  right  foot  (222)  like  the 
Satyr  (Fig.  279),  except  that  he  makes  the  Jete  on  the  left  foot. 


Fig.  306. 


Fig.  307. 


Fig.  308. 


Fig.  309. 


The  turning  movement  shows  that  the  toes  are  turning  the  body 
toward  the  back. 

243.  The  Assemble  (Fig.  312). — This  figure  is  both  a  plane  and  a 
horizontal  projection  of  the  two  Assembles  in  succession:  the  first 
of  the  left  foot,  the  second  of  the  right  foot.     The  direction  of  the 


132 


TECHNIQUE    OF    THE    DANCE 


Fig.  310. 


Fig.  311. 


I 


arrows  indicates  altitude.     The  dots  represent  the  horizontal  pro- 
jection of  the  feet  in  the  air,  at  the  moment  corresponding  to  the 

extreme  Position  of  the  leg 
which  separates  in  demi  II, 
moving  as  seen. 

The  mechanism  of  the 
Assemble  is  explained  hy  an 
exercise  called  the  Assemble 
Exercise. 

Preparation  (237)  :  Left 
advanced:  the  left  leg  sep- 
arates in  demi  II  {Vl^.  Fig. 
60),  during  which  the  right  bends  to  leap  (73)  :  the  two  feet  descend 
in  V,  left  forward:  this  makes  the  Assemble  over  (185).  Continue  on 
the  other  foot.    There  is  an  advance  on  the  ground. 

244.  To  make  the  Assemble 
under,  the  same  exercise  is  made 
backward.  By  changing  the  direc- 
tion of  the  arrows  in  Fig.   312, ^--^,  ^  i 

from  high  to  low,   the  movement 

will  be  clearly  understood.  ^-    312. 

245.  Mutation  of  the  feet  {Fig, 

313). — This  figure  is  composed,  like  the  preceding,  of  plane  and 
horizontal  projections,  with  dots  corresponding  to  the  extreme  Posi- 
tions of  the  legs,  which  are  separated  for  the  leap,  and  repre^jnt  the 

feet  in  the  air. 

The  exercise  of  the  Mutation  of 
the  feet  differs  from  the  assemble 
in  this;  in  the  Assemble  only  one 
leg  separates;  in  the  Mutation, 
both  are  separated. 

Preparation:  V,  right  advanced. 
Then  the  two  knees  are  bent  and  the  dancer  leaps.  While  in  the  air 
the  legs  Change  position,  turning  aside  from  each  other  in  a  double 
separation,  crossing  in  descent,  so  that  the  rear  leg  comes  forward: 
they  meet  in  V,  left  advanced;  the  second  Mutation  descends  in  V, 
right  advanced. 


--< 


.:xv> 


>c=> 


Fig.  313., 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


Fig.  314. 


Fig.  315. 


246.  This  exercise  is  also  done  with  a  rear  movement;  to  under- 
stand how  it  is  accomplished,  reverse  the  arrows  vn  Fig.  313,  and 
read  it  downwards. 

247.  Beating  Steps  (Battus) — In  these,  as  m  the  Bat tement  (188), 
the  active  leg  is  set  widely  apart  from  ^ 
the  supporting  leg,  and  moves  rapidly.     I 
The  Battus  is  made  in  the  air,  and  im-   -^ 

V 

plies  action  with  both  legs,  which,  dur- 
ing the  leap,  are  crossed.     The  Batte- 

ment  is  made  on  the  ground.  When  the  legs  beat  the  air,  one  or  the 
other  separating  without  being  crossed,  the  movement  is  called  the 
Cabrioles.    In  what  is  known  as  the  Cut  (Entrechat),  the  feet  cross 

y_  during  the  leap. 

I        The  Cabriole,  which  was  very  pop- 
—  ular  with  our  ancestors,  flourished  in 
the  sixteenth  century.     The  Cut  {En- 
trechat)^ which  is  derived  from  it,  is 
of  more  recent  date  (1730  or  about  that  time). 

248.  The  Cut  (Entrechat) — This  leaping  movement,  during  which 
the  legs  cross,  is  preceded  by  a  bend,  which  prepares  for  the  leap 
(73).  It  terminates  in  the  descent,  toe  down, 
on  one  foot  or  on  both.  In  the  former  case, 
the  lifted  leg  is  in  the  Attitude  (169). 

249.  The  Entrechat   is  counted  by   the 
number  of  segments  of  broken  lines  which  are  ^'s-  ^^^• 
described  by  the  two  feet  during  the  leap.     They  are  called  Three 

^Cuts,  Four  Cuts,  etc.     Figs.  314,  315,  316  and  317,  which  show 
between  the  tracings  of  the  feet  the  horizontal  projections  of  their^ 

_V_     movements  in  the  air,  give  the  reason  for 
these  names. 

Two  Cuts  are  not  used, — nothing  less 
than  Three  Cuts,  but  the  Mutation  of 
the  feet  may  be  considered  like  the  point 
of  departure  of  the  Cut,  so  we  may 
speak  of  Cut  Two  {Fig.  313).  It  is  composed  of  two  segments  of 
broken  lines,  the  feet  crossing  as  they  return  to  the  ground, 

250.  Three  Cuts,  presented  in  three  forms* 


Fig.  317. 


134  TECHNIQUE    OF    THE    DANCE 

First  form  is  that  in  which  the  legs  pass  from  the  V  to  the  II. 
The  V  is  the  Preparation  (237).  (The  figures  in  dots  are  not  used 
here,  being  ummecessary.  The  arrow  placed  at  the  side  indicates 
direction  of  movement,) 

Second  form:  as  in  Fig.  315,  the  legs  pass  from  the  II  to  the  V, 
the  II  being  the  Preparation. 

Third  form,  like  Fig.  316.  In  this  the  legs  are  in  V,  the  Prepara- 
tion, and  return  to  a  V  reversed.  That  is  to  say,  the  first  Position 
is  the  V,  right  advanced,  the  end  is  the  V,  left  advanced. 

251.  Four  CmIs,  of  which  Fig.  SIK  shows  a  plan.  Another  illustra- 
tion  which  will  assist  the  pupil  being  Plate  III,  which  gives  an  analy- 
sis of  the  different  phases  of  the  movement. 

No.  1 :  Preparation:  V  left  forward.  Bending  both  knees  for  the 
leap. 

No.  2:  The  knees  straighten:  the  dancer  is  posed  on  the  toes, 
about  to  leave  the  ground. 

Nos.  3  and  4 :  Two  moments  of  the  period  of  the  leap,  or  suspen- 
sion, corresponding  to  the  crossing  of  the  legs  which  constitutes  the 
Cut. 

No.  5:  During  suspension.  The  crossed  legs  separate  as  they 
descend. 

No.  6:  The  dancer  descends  on  the  toes,  in  V,  left  advanced, 
which  is  the  initial  Position. 

No.  7:  The  heels  are  lowered:  the  two  knees  bend  to  make  the 
new  leap.  No.  7  reproduces  No.  1,  and  makes  the  first  of  a  new 
series  of  figures  in  which  the  moments  correspond  to  the  moments  of 
the  preceding  series.    No.  1  =  No.  7,  No.  8  =  No.  2,  etc. 

In  the  same  way.  No.  13  corresponds  to  No.  1  and  begins  a  third 
series. 

In  each  of  the  three  series,  the  Preparation  is  given  in  one  figure; 
the  rising  on  the  toes,  one  figure;  the  period  of  suspension  occupies 
the  next  three  figures  of  which  the  first  two  show  the  two  moments 
of  the  Battu;  the  descent  on  the  toes,  which  is  the  end,  is  expressed 
by  the  sixth  figure. 

By  placing  them  all  on  one  page,  the  pupil  is  enabled  to  compare 
them  closely,  thus  noting  differences  of  movement  that  would  other- 
wise escape  the  eye. 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS  135 

252.  Regarding  the  question  of  rhythm  in  the  dance ,  though  it  is 
outside  the  scope  of  this  chapter,  the  following  generalisations  are 
given:  the  isochronism  of  the  movements  follows  the  successive  uni- 
form movements  in  time,  resulting  in  monotony :  we  should  have  the 
slower  movements  of  the  Greek  dance  to  give  variety. 

253.  There  are  movements  known  as  Five  Cuts,  Six  Cuts,  Seven — 
the  number  is  limited  only  by  the  skill  of  the  dancer, 

254.  The  Assemble  (243)  and  the  mutation  of  the  feet  (245) 
have  no  characteristic  moment,  therefore  they  cannot  be  represented 
by  a  single  illustration,  nor  can  they  be  adequately 
described, 

255.  A  vase  of  mediocre  style,  made  in  Etruria 
in  the  third  century  B.  C,  of  poor  quality  of  clay, 
coarsely  painted,  is,  notwithstanding  all  of  these 
defects,  highly  interesting  to  the  student  of  the 
dance.  It  is  a  unique  example,  because  it  proves 
conclusively  that  the  Greeks  practiced  the  Battu 
step,  which  is  much  like  our  Entrechat  (Cut).  A 
comparison  of  Fig.  318  with  No.  10  of  Plate  III 
decides  that  question  and  permits  a  reconstruction 
of  all  of  the  phases  of  the  movement.     The  whole 

^  Fig.  318. 

series  of  photographs  on  Plate  III  should  be  con- 
sidered as  one  in  an  analysis  of  the  Entrechat  Four  of  the  modern 
dance :  they  constitute  a  restoration  of  the  Greek  Step,  of  which  the 
painting  on  the  vase  shows  a  characteristic  moment. 

256.  Turning  Movements.—^  great  number  of  Tempos  and  Steps 
are  executed  while  turning,  without  which  the  whole  mechanism  would 
be  altered,    A  short  list  of  these  follows: 

The  Slide,  turning. 

The  Chasse,  turning. 

The  Fouette,  turning. 

The  Jete,  turning. 

The  Rise  on  the  Toes,  turning. 

The  Step  on  the  Toes,  turning. 

The  Battus  (Entrechats),  turning. 

The  turn  may  be  on  the  ground  or  in  the  air,  depending  on  the 


136  TECHNIQUE    OF    THE    DANCE 

nature  of  the  movement.     The  modern  French  dancer  uses  all  of 
these  forms. 

257.  The  whirling  steps  are  turns  made  very  rapidly^  usually  on 
the  toes  or  the  half -toes  of  both  feet^  continuing  in  a  series,  depend- 
ing on  the  ability  of  the  dancer,  and  advancing  on  the  ground  in 
any  desired  direction. 

258.  *  The  Pirouette. — Among  the  turning  movements  practiced  by 
our  dancers,  the  Pirouette  has  an  important  place.  It  consists  in 
turning  one  or  more  times  on  the  toe  or  the  half-toe  of  one  foot,  the 
other  leg  being  raised  and  motionless,  knee  bent.  The  impulsion 
necessary  for  the  rotation  of  the  body  on  its  unique  pivot  is  prin- 
cipally the  arm,  which,  here,  plays  the  role  of  motor. 

259.  There  are  numerous  varieties  of  the  Pirouette:  nearly  all  of 
the  Positions  taken  by  the  free  leg  may  be  used  here,  while  the  active 
leg  executes  the  movement. 

The  greater  number  of  the  Pirouettes  are  in  double  form:  accord- 
ing to  the  direction  of  the  rotation,  they  are  Pirouettes  inward 
or  outward. 

The  Pirouette  outward,  which  is  most  used,  is  a  turn  to  the  side 
on  which  the  leg  is  in  the  air  (Fig.  220). 

The  Pirouette  inward  is  when  the  turn  is  toward  the  side  of  the 
supporting  leg  (Fig.  321). 

260.  The  Preparation  for  the  Pirouette — The  foot  which  is  to 
execute  the  Pirouette  is  the  pivot.  The  rotation  of  the  body  on  the 
supporting  leg  is  determined  by  the  action  of  the  arms  and  the  swing 
of  the  torso.  The  spring  is  accomplished  by  the  abrupt  lateral 
movement  of  the  arm  which  crosses  in  front  of  the  chest  (Fig.  319), 
and  which  impels  the  body  toward  that  side  (Figs.  336,  337,  338). 
The  legs  are  in  II  or  IV. 

Pirouette  outward: 

The  dancer  turns  to  the  right,  crossing  the  right  arm  and  turning 
on  the  half-toe  or  the  toe  of  the  left  foot  (Figs.  319  and  320). 

Or,  the  dancer  turns  to  the  left,  crossing  the  left  arm  and  turning 
on  the  toe  or  the  half-toe  of  the  right  foot. 

*  Translator's  note:  The  Pirouette  belongs  to  the  steps  classed  as  "natural"  in 
that  it  is  a  movement  that  seems  to  be  instinctive  among  children.  All  children 
pirouette  in  their  play. 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


13T 


Pirouette  inward : 

Here  the  dancer  turns  to  the  right,  crossing  the  right  arm  and 
turning  on  the  toe  or  the  half -toe  of  the  right  foot  (Figs.  319  and 
321). 

Or,  the  dancer  turns  to  the  left,  crossing  the  left  arm  and  turning 
on  the  left  foot. 

In  other  words: 

//  the  Pirouette  is  outward  the  dancer  turns  on  the  foot  opposed 
to  the  arm  which  crosses  in  front. 


Fig.  319. 


Fig.  320. 


Fig.  321. 


//  the  Pirouette  is  inward,  the  turn  is  made  on  the  foot  which  is 
on  the  same  side  as  the  crossed  arm. 

261.  Execution  of  the  Pirouette.^ — When  the  rotation  begins,  the 
foot  which  is  not  the  pivot  is  lifted,  and,  according  to  the  kind  of 
Pirouette  to  he  made,  the  leg  in  the  air  is  separated,  being  higher 
or  lower,  and  held  motionless  during  the  step,  or  it  may  execute 
certain  movements  (263).  The  first  spring  of  the  arms  and  torso 
is  made  with  vigor,  enabling  the  dancer  to  spin  aroujid  four  or  five 
times  before  the  heel  of  the  supporting  leg  touches  the  ground, 
Zorn  cites  one  dancer  who  pirouetted  on  her  instep  seven  times  with- 
out losing  the  initial  spring,  but  this  is  exceptional. 

262.  Reviewing  the  photographic  analysis  of  the  Pirouette,  it  is 
seen  to  be  a  simple  example:  the  Pirouette  on  the  instep  (Figs.  322 
to  345).  It  is  here  preceded  by  a  Coupe  (220)  which  serves  as  the 
Preparation  for  the  Pirouette,  the  right  leg  chasses  in  II,  during 
the  time  the  arm  crosses. 


138 


TECHNiaUE    OF    THE    DANCE 


Fig.  S22:  End  of  the  foregoing  Pirouette  on  the  instep,  in  which 
the  left  leg  serves  as  the  pivot.  The  right  leg,  posed  in  V  forward, 
<is  in  Fig.  344. 


Fig.  322.  Fig.  323.  pij?.  324. 


Fig.  330. 


Fig.  325. 


Fig.  32G. 


Fig.  331. 


Fig.  332. 


Figs.  323  and  S24<:  The  left  leg  is  lifted  and  bent  backward  at  the 
knee;  the  upper  leg  is  motionless. 

Figs,  325,  326  and  327,  the  left  leg  is  lowered  in  order  to  cross  at 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS  139 


the  rear;  the  two  arms  move  at  the  same  time  to  develop  the  Step 
(179). 


Fig.  333. 


Fig.  334. 


Fig.  33&. 


Fig.  336. 


Fiir.  337. 


Fig.  338. 


Fig.  339. 


Fig.  340. 


Fig.  341,  Fig.  342. 


Fig.  343. 


Fig.-344.^ 


Fig.  315. 


Fig.  328 :  The  left  leg  makes  the  Coupe,  and  chasscs  the  right  leg, 
of  which  the  heel  is  raised:  the  arms  reach  the  climax  of  their  move- 
ment. 


140  TECHNIQUE    OF    THE    DANCE 

Figs,  329,  330  and  331 :  The  right  leg  Separates  in  II  and  the  toe 
touches  the  ground. 

Figs.  332  and  333,  the  right  heel  is  lowered,  the  dancer  is  now  in 
II:  the  right  arm  is  firmly  crossed,  in  obedience  to  the  rule  (197). 

Figs.  334,  335  and  336:  the  right  arm  crosses  more  and  more, 
carrying  the  body  lightly  with  it  toward  the  left. 

Fig.  337 :  The  right  arm  makes  an  abrupt  movement  from  left  to 
right,  and  by  this  impulsion  the  motive  power  and  the  balance  are 
obtained. 

Fig.  338:  The  rotation  begins.  The  body  turns  to  the  right,  the 
right  leg  being  lifted. 

Figs.  339  to  345 :  The  rotation  is  made.  It  is  produced  by  carry- 
ing the  right  foot,  lifted  (Fig.  339),  and  drawing  nearer  to  the  sup- 
porting leg  {Figs.  340,  341),  keeping  the  toe  as  high  as  the  instep 
of  the  other  foot.  The  arms,  which  have  finished  their  work,  are 
posed  high  before  the  chest. 

Fig.  345 :  End  of  the  Pirouette.  The  moment  of  this  figure  cor- 
responds very  nearly  to  that  of  Fig.  306. 

Thus,  by  the  aid  of  photography,  tempo  can  be  shown,  without 
the  aid  of  music. 

263.  Varieties  of  the  Pirouette. — Pirouette  on  the  instep  {Figs. 
322  to  345). 

Pirouette  in  II,  in  which  the  free  leg  separates  in  Principle  II 
(100)  during  the  rotation  made  by  the  toe  of  the  other  foot. 

Pirouette  in  II,  finishing  on  the  instep. 

Pirouette  in  the  Attitude,  in  which  the  free  leg  is  lifted  in  the 
Attitude  {Fig.  200).  The  Pirouette  in  Attitude  begins  with  two 
turns  in  II  and  terminates  with  four  turns  in  the  Attitude,  executed 
with  a  very  rapid  movement  in  the  first  two  turns;  the  good  effect 
of  the  Pirouette  depends,  according  to  Bournonville,  on  the  second 
part  of  it  being  doubled  in  speed  and  in  the  number  of  turns. 

Pirouette  in  Arabesque,  in  which  the  free  leg  is  extended  in  the 
Arabesque. 

Pirouette  in  Arabesque,  finishing  in  the  Attitude.  In  which  the 
leg  passes  from  the  Arabesque  to  the  Attitude. 

Pirouette  in  II  finishing  in  the  Attitude.  During  the  rotation  the 
free  leg  passes  from  the  II  to  the  Attitude, 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


141 


Pirouette  with  small  Battements  on  the  instep.     During  the  rota^>^ 
tion,  the  free  leg  executes  several  small  strikes  on  the  instep  (Fig. 
185). 

Pirouette  with  small  Circles  with  the  Leg.  During  the  rotation, 
the  free  leg  executes  many  small  circles  (193).  — "^ 

Pirouette  backward.  Always  executed  inward,  and  is  character- 
ized by  backward  bending  movements.  It  takes  on  a  great  number 
of  forms. 

These  are  a  few  of  the  variations  on  the  theme  of  the  Pirouette. 

264.  In  the  language  of  dancers,  the  word  Pirouette  always  car- 
ries the  idea  that  one  leg  supports  the  body  on  the  toe  or  the  half- 


^iv 


Fig.  340. 


Fig.  347. 


Fiir.  348. 


toe,  and  makes  the  rotation.     While  this  rotation  is  being  made, 
that  is,  while  the  dancer  is  in  the  air,  it  is  called  the  turn  in  the  air. 
The  dancer,  having  made  the  turn  in  the  air,  descends  to  a  simple 
position,  or  to  the  Attitude,  or  the  Arabesque,  etc.  

265.  The  turning  movements,  though  highly  valued  by  the  Greeks, 
were  fewer  in  number  of  kinds  than  ours  (256,  263).  Their  mech- 
anism is  simple :  it  is  usually  a  stamping  of  the  feet  on  the  sole  or  the 
half-toe,  resulting  in  a  whirling  movement  which  is  very  rapid,  if  one 
may  judge  by  the  movement  of  their  draperies.  These  forms  of 
stamping  are  of  few  types,  many  times  repeated,  their  physiognomy 
always  the  same. 

It  is  definitely  settled  that  the  Greek  dancers  of  the  fifth  to  the 
second  century  B.  C.  practiced  the  Pirouette,  and  that  the  mechan- 
ism was  the  same  as  that  of  modern  dancers. 

266.  Turning  by  Stamping. — The  constant  employment  of  this 
movement   proves   that  they   were  ignorant  of  the  more   scientific 


142 


TECHNIQUE    OF    THE    DANCE 


method  used  by  French  dancers.  It  is  a  charming  motion,  more 
because  of  the  foot-action  than  on  account  of  the  turn  itself.  The 
form  is  as  simple  as  it  is  good.     The  turn  hy  stamping  on  the  soles 


Fig.  349 


Fig.  350. 


of  the  feet  (Figs.  346,  347,  348)  or  on  the  half -toe  (Figs.  349,  350, 
351,  352)  is  seen  in  Greek  sculpture  of  the  Hellenistic  period.  It 
is  always  held  in  high  esteem.     It  is  sometimes  accompanied  by  a 


Fig.  350A 

strange  backward  bend  (Figs.  352,  199,  C)  or  by  the  flexion  of  the 
knees   (Fig.  353). 

267.  Turning  by  Stamping  in  IV  Crossed. — One  of  the  Positions 
favored  by  the  Greek  dancers,  who  turned  by  stamping,  was  the  IV 
crossed  (95)  on  the  half-toe  or  on  the  toe.     It  is  one  of  the  most 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


145 


striking  features  of  the  ancient  dance.    Often  the  stamping  is  slight, 
owing  to  the  close  crossing. 


Fig.  351. 


Fig.  352. 


Fig.  35.1. 


Our  dancers  do  not  practice  this  kind  of  rotation:  they  are  even 
opposed  to  executing  a  IV  crossed  while  turning  rapidly,  the  position 


Fig.  354. 


Fiir.  355. 


Fig.  356 


being  a  serious  obstacle  to  quick  movement.  The  Greek  dancers, 
however,  turned  while  in  this  pose,  and  moved  rapidly,  using  a  mech- 
anism strange  to  us. 

It  is  all  a  question  of  the  celerity  of  the  motion.    Figs.  84,  355  and 


144 


TECHNIQUE    OF    THE    DANCE 


354,  in  which  the  feet  are  crossed,  support  the  body  heavily  and  do 
not  express  rapidity  of  movement.  By  reason  of  the  oscillation  of 
the  torso,  the  dancer  represented  in  Fig.  189  does  not  appear  to  be 
turning  rapidly.  The  turn  is  accelerated  in  Fig.  356  which  is  exe- 
cuted with  a  light  movement  on  the  half  toe ;  the  same  remark  applies 


Fig.  357. 


Fig.  358. 


Fig.  359. 


to  Fig.  357.  The  veil  dancers,  358  and  359,  turn  more  slowly,  on 
the  half-toe  or  on  the  toe. 

268.  In  what  direction  do  these  figures  rotate  .^^  Is  it  possible  to 
discover  this.^ 

It  is  certainly  difficult  to  determine  this  point  from  an  examina- 
tion of  the  legs  alone.  But  the  movement  of  the  torso  many  times 
furnishes  a  clue.  For  instance,  the  Borghese  Faun,  of  which  the 
feet  are  shown  in  Fig.  355,  and  of  which  the  Torso  turned  to  the  left, 
is  certainly  turning  to  the  left,  the  side  on  which  the  leg  is  crossed 
in  front.  It  is  the  same  with  Fig.  490.  Fig.  491  also  turns  tow.  id 
the  side  on  which  the  leg  is  crossed  in  front ;  in  this  case  the  left  h  g 
is  free  and  lifted. 

When  the  dancer  is  not  nude,  the  direction  of  the  motion  can  bo 
discovered  from  the  swirl  of  the  draperies.  Painters  and  sculptors 
expressed  the  lightness  of  a  dancer's  whirling  movement  by  the  bil- 
lowing and  twisting  of  the  garments.  When  the  drapery  swings 
from  right  to  left,  the  rotation  is  to  the  right  (Figs.  346,  347,  348, 


DESCRIPTION    OF    SOME    OF    THE    TEMPOS    AND    STEPS 


145 


357,  476,  A)  :  if  the  swing  is  from  left  to  right,  the  dancer  is  turning 
from  right  to  left  (Figs.  349,  476,  B).  This  becomes  a  conven- 
tion (316). 

Although  the  draperies  usually  indicate  the  direction  of  the  move- 
ment, there  are  cases  where  it  is  impossible  to  determine  the  matter 
in  this  way. 

269.  The  Pirouette  was  certainly  practiced  by  the  Greek  dancers. 
It  is  not  a  little  surprising  to  find  that  the  mechanism  of  the  ancient 
dance  was  the  same  as  our  own.     To  turn  on  the  foot  when  the  heel 


Fig.  360. 


Fig.  361. 


is  not  on  the  ground  it  is  necessary  to  make  the  spring  with  the 

arms  or  the  torso,  and  it  imposes  upon  the  dancer  a  certain  tempo. 

The  Figs.  360,  361,  362,  363,  364  and  365  are  the  Preparation 


Fisr.  362. 


Fig.  364. 


for  the  Pirouette.  The  rotation  must  be  made  toward  the  side  to 
which  the  arm  crosses  (260),  it  being  the  left  for  the  dancers  rep- 
resented in  Figs.  360  and  361,  and  the  right  for  the  others.  It  is 
easy,  notwithstanding  the  bad  defects,  to  discover  from  these  six 


146 


TECHNIQUE    OF    THE    DANCE 


figures  and  the  two  following  the  equivalent  of  the  movement  of  the 
arms  analysed  in  the  photographs  in  Figs.  331  to  365.  The  two 
legs  of  the  dancers,  Figs.  361  to  365,  are  on  the  ground:  this  makes 
the  Pirouette  ineffective,  as  the  preparation  was  not  good.  Looking 
at  Figs.  362  and  363  there  will  be  seen  a  light  inclin- 
ation of  tho  torso  to  the  left,  much  like  that  of  Fig. 
336,  and  which  immediately  precedes  the  reversed 
pose  (262). 

270.  The  joyous  citizen  who  celebrates  Komos 
(Fig.  336)  is  executing  a  Pirouette  outward  (259), 
turning  to  the  right  on  the  half-toe  (Fig.  320). 
One  of  his  companions  (Fig.  367),  who  does  not 
raise  his  heel,  Pirouettes  somewhat  heavily,  also  outward,  and  to 
the  left.  The  professional  dancer  (Fig.  368)  poses  on  the  half-toe, 
and  turns  to  the  right,  making  a  Pirouette  inward  (259  and  Fig. 
321). 

The  three  figures  (366,  367,  368)  are,  in  one  respect,  remarkable; 
the  Preparation  for  the  Pirouette  by  the  arms  and  its  Execution  by 
the  legs  being  made  at  the  same  time.     This  is  an  artifice  of  the 


Fig.  365. 


Fig.  366. 


Fiy.  367. 


painter  and  the  sculptor  who  are  the  authors  of  these  two  repre- 
sentations of  the  dance:  each  has  superposed  one  moment  of  the 
dance  upon  another.  Compare  with  the  preceding  series  of  photo- 
graphs :  the  moment  of  the  arms  of  Fig.  333  and  the  moment  of  the 


DESCEIPTION    OP    SOME    OF    THE    TEMPOS    AND    STEPS 


14.7 


legs  of  Fig.  340,  really  widely  separated  from  each  other,  are  com- 
bined in  the  Figs.  366,  367  and  368 ;  this  impossible  combination  is, 

r" 7  of  course,  wholly  conventional. 

\        /  271.     The      charming     little 

•.!i>:V|  dancer  in  Fig.  369  who  executes 

/?;';••:  a  Pirouette  outward  on  the  in- 

step (259,  262)  is  posed  on  the 
toe,  and,  if  one  may  judge  from 


.Fijj.  368. 


Fi'.'.  369. 


the  direction  of  the  torso,  is  turning  to  the  left.  She  accompanies 
the  Pirouette  with  movements  of  the  Arms,  Head,  and  Torso  which 
render  her  aspect  quite  different  from  that  of  our  dancers.  Never- 
theless, the  likeness  between  this  and  Fig.  340  is  decisive. 


RECONSTRUCTION   OF  TEMPOS 
AND  STEPS 

from  the  antique  figures 


COORDINATION  OF  MOVEMENTS 

272.  Superposition  of  Movements — The  Movements,  Tempo  and 
Step,  may,  under  certain  conditions,  be  superposed,  amalgamated, 
forming  by  their  union  new  Movements  the  composing  elements  of 
which  are  easy  to  recognize.  For  example,  the  Pirouettes  with  Bat- 
tements,  or  the  Pirouettes  with  Circles  of  the  Legs,  etc. 

By  analogy  it  can  be  seen  how  the  Jete-Battu,  Jete  with  Circles 
of  the  Legs,  may  be  combined. 

The  many  combinations  made  by  fusing  must  not  be  confounded 
with  Movements  made  in  a  series. 

273.  Successions  of  Movements — Those  series  of  Movements  in 
which  certain  Tempos  and  Steps  succeed  one  another  without  inter- 
ruption are  called  Enchainments,  or  Chains  of  movements. 

There  are  good  and  bad  Chains,  that  is,  series  in  good  style  and 
in  bad.  It  may  make  the  matter  of  Tempo  clearer  to  say  that  the 
Tempo  corresponds  to  the  syllables,  the  Step  to  the  word,  and  the 
Chain  to  phrases  of  the  dance.  Therefore,  the  study  of  the  Chain  is 
the  climax  of  the  dancer's  education:  he  must  understand  the  bond 
between  the  isolated  movements,  must  execute  the  phrases, — com- 
pose the  words. 

Example  of  a  very  simple  Chain: 

Coupe  over  (220)  with  the  left  leg.  Fouette  to  the  rear  (221) 
with  the  right  leg  (Figs.  370  and  375).  Which  is  the  same  as 
saying  the  Fouette  commences  as  the  Coupe  ends. 

The  photographic  analysis  presented  in  Figs.  322  to  345  is  a 
Chain  composed  of  Coupe  over  +  Preparation  and  Execution  of  the 
Pirouette  (260,  261). 

274.  Repeated  Movements. — This  statement  of  the*  rules  govern- 
ing the  Chain  may  seem  empirical,  but  there  are  reasons  for  the 
apparently  complex  and  arbitrary  requirements.  Only  the  principal 
modes  of  succession  will  be  noted  here. 

151 


152 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


The  formula  of  succession  is  simple  where  it  is  a  repetition  of 
identical  Movements. 

Examples:  a  series  of  Battements  on  the  ground  (Fig.  217),  or  of 


Fjg.  370. 


Fig,  371. 


Fig.  372: 


Fig.  373. 


Fig.  374.  ^^'S-  3^5- 


sustained  Battements  (Fig.  218),  or  the  Grand  Battement  (Plate 
II),  or  the  Circles  with  the  Legs  (Fig.  221),  etc.,  executed  in  the 
same  direction  and  with  the  same  leg; — a  succession  of  many  Four 
Cuts  (Entrechats)  (Plate  III),  etc. 


Fig.  376. 

The  repetition  of  the  same  Movement  does  not,  properly  speaking, 
constitute  a  Chain. 

275.  Alternating  Movements.— In  these  the  dancer,  having  exe- 
cuted a  movement  with  the  left  arm  or  the  left  leg,  at  once  repeats 
it  with  the  right  arm  or  the  right  leg,  thus  making  one  pair  of 
alternating  Movements.    Example : 


660RDINATlOiSr    OF    MOVEMENTS 


I5i 


Battements  on  the  ground,  alternated  (184,  Fig.  376)  No.  1: 
legs  in  III  right  advanced; — No.  %:  right  leg  separates  in  II  on 
the  ground,  raised  on  the  toe; — No.  3:  the  right  leg  joins  in  II, 
rear ; — No.  4 :  left  leg  separates  in  II  on  the  ground  with  the  toe ;- — 
No.  5:  left  leg  joins  in  III  at  the  rear. 


Fig.  377^ 


Fig.  378. 


Fig.  379. 


Fig.  380.. 


FigTSSlV 


Fig.  3S^. 


Fig.  384. 


Jete  over,  alternating,  to  the  left  and  to  the  right  (223  and  Figs. 
377  to  384). 

These  two  examples  enable  the  student  to  comprehend  the  mean- 
ing of  expressions  like  the  following:  Slides  alternating,  Chasses 
alternating,  etc. 

276.  The  Chains  themselves  may  be  made  in  alternation.     Those 


154  RECONSTRUCTION    OF    TEMPOS    AND    STEPS 

represented  in  Figs.  370  to  375  are  made  in  this  manner,  and  accord- 
ing to  the  formula  (273). 


j^  fCoupe  over  with  the  left  leg, 

iFouette  to  the  rear  with  the  right  leg, 


followed  by  this  Chain: 

r  I    TCoupe  under  with  the  right  leg, 
IFouette  to  the  rear  with  the  left  leg. 

The  whole  Chain  is  thus  seen  to  be  composed  of  two  alternating 
Chains. 

277.  Movements  in  Opposition. — These  are  best  described  as 
movements  in  which  two  members  are  posed  or  moved  in  opposite 
directions. 

The  movement  opposed  to  a  movement  beginning  at  the  rear 
and  advancing  would  be  one  where  the  motion  commenced  at  the 
front  and  moved  toward  the  back. 

A  movement  opposed  to  one  from  low  to  high  would  be  that  which 
would  be  from  high  to  low. 

The  movement  opposed  to  that  from  right  to  left  would  be  that 
which  was  from  left  to  right. 

278.  When  the  arms  or  legs  are  active,  the  opposition  may  be 
simple  or  double. 

It  is  simple  when  the  two  opposing  movements  are  executed  by  the 
same  member.     Examples: 


Simple  Opposition  - 


right  leg  is  lifted  in  Principle  IV  forward; 
followed  by  lifting  the  same  leg  in  Principle  ly 
backward. 


The  Opposition  is   double  when  the  movement  is   made  by  two 
members.     Examples : 


Double  Opposition 


the  right  leg  is  lifted  in  Principle  IV  forward; 
the  left  leg  is  immediately  raised  in  Principle  IV 
to  the  rear. 


13 


14 


15 


Plate  III. 


10 


11 


12 


16 


17 


IS 


COORDINATION    OF    MOVEMENTS 


165 


The  movements  executed  In  opposition  are  numberless.     The  gen- 
eralities given  above  are  only  the  beginning. 


Fig.  385. 

279.  The  opposing  movements  possible  between  the  torso  and 
head  are,  for  anatomical  reasons,  limited.     Below  is  a  complete  list. 

J  bending  the  body  to  the  right  (Fig.  385,  A) ; 
[bending  the  body  to  the  left  (Fig.  385,  B).^ 

right  shoulder  turned  front  (Fig.  184)  ; 
left  shoulder  turned  front  (Fig.  538). 

bending  the  torso  forward  (Fig.  S85)  ; 
bending  the  torso  backward  (Fig.  186). 

bending  the  head  forward  (Fig.  197)  ; 
bending  the  head  backward  (Fig.  198). 

bending  the  head  to  the  right  (Fig.  195)  ; 
bending  the  head  to  the  left. 

turning  the  head  to  the  right  (Fig.  196)  ; 
turning  the  head  to  the  left. 

280.  Between  the  opposed  movements  executed  by  the  members 
(arms  and  legs),  but  above  all,  between  the  two  terms  of  the  six 
Oppositions  noted  (body  and  head),  there  exists  a  relation  most 
useful  to  the  dancer  who  desires  to  pass  from  one  to  the  other.  This 
relation  exists  by  reason  of  the  latent  conditions  of  equilibrium,  by 

*The  vertical  line  of  equilibrium  is  traced  in  dots. 


156  RECONSTRUCTION    OF    TEMPOS    AND    STEPS 

which  the  movements   are  made   from   right  to  left,   advancing  or 
retreating  from  the  vertical  line  of  equiHbrium  (298). 

The  dancer  thus  obeys  instinct  in  choosing  these  forms  of  motion, 
and  the  opposed  action  results  in  opposed  reaction. 

281.  In  review.     The  succession  of  movement  may  be: 
I.    By  simple   repetition. 
11.    By  alternation. 

III.    By  opposition. 

IV.    By  free  forms  of  which  the  limits  are  independent  from  each 
other. 


IDENTIFICATION    01<^    THE    MOVEMENTS  15*7 


IDENTIFICATION  OF  THE  MOVEMENTS  BY  MEANS  OF 
THE  SCULPTURES  AND  PAINTINGS 

282.  The  Moments  of  the  Movements. — The  photographic  analysis 
shows  the  movements  at  successive  moments.  Every  one  of  the 
figures  composing  the  series  is  an  analysis  of  that  moment. 

By  analogy  it  may  be  said  that  every  figure  taken  from  antique 
pictures  represents  a  moment  of  the  dance.  In  this  way  one  of  the 
phases  of  the  movement  is  fixed  by  the  artist's  pencil,  just  as  his 
alert  eye  saw  it. 

283.  Characteristic  Moments. — Among  the  movements  of  a  step 
there  is  always  one  known  as  the  characteristic  moment^  sufficiently 
defined  for  the  student  to  determine  which  it  is. 

For  example,  take  the  Entrechat  (Cut), — the  characteristic  mo- 
ment is  the  period  of  suspension,  corresponding  to  the  crossing  of 
the  feet  in  the  air,  during  the  leap  (Plate  III,  Figs.  3  and  4,  9  and 
10,  15  and  16).  The  other  moments  are  of  no  great  value  in  deter- 
mining the  movement  of  which  they  are  a  part.  In  a  word,  if  the 
student  looks  at  a  picture,  he  should  have  no  difficulty  in  recognizing 
the  movement  depicted,  provided  it  represents  a  characteristic 
moment. 

As  has  already  been  stated,  there  are  movements  that  have  no 
characteristic  moment. 

284.  Essential  Moments — ^All  movements  have  two  essential  mo- 
ments, some  of  them  more.  The  definition  of  essential  moment  of 
movement  is — that  which  corresponds  to  the  Positions  which  limit 
the  movement,  and  between  which  it  is  effected. 

Example  of  movement  in  which  the  essential  moments  are  two  in 
number:  Separate  on  the  ground  from  the  III  right  advanced  to 
II  on  the  toe  (Fig.  217,  1  and  2).  These  are  the  limiting  Positions, 
the  first  being  III  right  advanced,  the  last  being  the  II  on  the  toe. 
It  is  enough  to  know  the  limiting  Position  to  determine  the  entire 


158  RECONSTRUCTION    OF    TEMPOS    AND    STEPS 

movement  by  which  the  leg  passes  from  one  to  the  other.  Because 
the  two  Positions  correspond  to  tlie  two  essential  moments,  they  are 
called  the  extreme  moments^  and  give  a  correct  idea  of  the  scope  of 
the  movement. 

Another  example:  symmetric  oscillation  of  the  Torso  from  either 
side  to  the  vertical  and  past  it  to  a  similar  pose  on  the  other  side, 
by  a  succession  of  two  movements  of  Posing  the  Body  to  the  left  or 
to  the  right  (Fig.  385).  The  two  figures,  A  and  B,  mark  the  limits 
of  the  movement,  and  are  sufficient  to  determine  its  scope. 

Example  of  a  movement  in  which  the  essential  moments  are  three 
in  number:  Battement  on  the  ground  (184).  The  three  limit- 
positions  between  which  the  movement   is   effected   are   (Fig.   217, 

I,  2,  3)  :  the  III  advanced,  the  II  on  the  toe,  the  III  to  the  rear. 
The  three  figures  are  all  that  are  necessary  to  make  it  clear  to  the 
student  that  the  three  movements  are  the  essential  moments. 

Example  of  a  movement  having  jive  essential  moments:  the  Grand 
Circle  with  the  Legs,  made  high  (194),  and  in  which  (Fig.  229)  the 
leg  moves  successively  through  the  positions  of — Principle  II,  Prin- 
ciple IV  to  the  rear,  position  Principle  IV  forward,  returning  to 
Principle  II.  The  passage  from  the  Principle  II  to  the  Principle 
IV  rear  makes  a  quarter-circle  horizontally.  The  Principle  IV  rear 
to  Principle  IV  forward  describes  a  half-circle  inclined  from  the 
horizontal.  From  the  Position  marked  A  one  sees  one-quarter  of  the 
circle.     From  the  Principle  IV  advanced  the  leg  returns  to  Principle 

II,  which  is  both  the  initial  and  the  final  Position,  the  circle  being 
complete.  Give  these  five  Positions,  the  movements  between  them 
can  be  reconstructed. 

285.  From  these  examples  it  may  be  seen  that  one  movement  may 
not  be  enough  to  determine  the  step,  making  it  in  some  cases  neces- 
sary to  have  two,  three,  five,  or  as  many  pictures  as  there  are  essen- 
tial moments. 

Then,  there  is  the  question  as  to  what  is  the  essential  moment, 
which  is  repeated  (274),  alternated  (275)  or  combined  in  chains 
(276).  If  the  movement  is  repeated  twice,  three  times,  four  times, 
five  times,  etc.,  or  alternated,  or  made  one  of  a  series,  the  smallest 
number  of  illustrations  which  will  make  it  clear  must  be  equal  to  the 
number  of  essential  moments  of  the  series. 


IDENTIFICATION    OF    THE    MOVEMENTS  159 

Conclusion :  A  single  figure,  which  is  not  the  expression  of  a  char- 
acteristic moment  (283)  is  useless  in  determining  the  character  of 
the  movement.  The  characteristic  moment  must  be  determined  by 
some  other  indication,  and,  if  the  precise  limits  cannot  be  set,  there 
will  be  some  doubt  as  to  its  nature. 

But  if  the  movement  does  not  conform  with  the  characteristic 
moment,  whether  there  be  one  or  several,  the  matter  is  not  to  be 
determined  by  fewer  figures  than  there  are  essential  moments  (284). 

The  reader  may  prove  this  for  himself  by  referring  to  the  series 
of  instantaneous  photographs,  finding  the  essential  moments,  and 
from  them  deducing  the  characteristic  moment.  He  will  also  find 
that  the  photographs  separate  the  movement,  so  that  they  show 
all  of  the  secondary  movements  as  well  as  the  essential  ones,  keeping 
each  in  proper  sequence.  Thus,  in  Plate  II,  images  1  and  8  may  be 
considered  the  same  as  the  essential  moments  in  the  Battement  analy- 
sis ;  all  of  the  others  are  intermediate  moments. 

On  Plate  III  is  shown  the  characteristic  moment  of  the  Entrechat, 
which  is  the  crossing  of  the  feet  in  the  air,  as  in  the  two  figures  3  and 
4,  and  9  and  10,  and  15  and  16.  However  rapid  the  motion,  it  is 
caught  and  fixed  by  the  photographer. 

On  the  contrary,  a  minimum  of  photographic  images,  correspond- 
ing to  the  essential  moments  of  the  movement,  are  deduced  from 
figures  217-218,  273-274,  275-276,  284-285,  etc. 

286.  These  considerations  permit  us  to  formulate  the  conditions 
under  which  the  dancing  figures  of  sculpture  were  intended  to  be  con- 
sidered, and  serve  as  a  solid  basis  for  the  reconstruction  of  the 
movements  of  the  dance. 

(1)  A  single  figure  is  sufficient  to  determine  a  movement  when  it 
presents  a  characteristic  moment: 

(2)  Lacking  a  figure  showing  a  characteristic  moment,  the  move- 
ment cannot  be  reconstituted  without  several  figures,  their  number 
being  at  least  equal  to  the  number  of  the  essential  moments  of  the 
movement. 


160 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


RECONSTRUCTION  OF  THE  TEMPO 

287.  The  case  is  simple  when  the  figure  shown  in  the  painting  or 
statue  expresses  a  characteristic  moment  of  the  movement  (283). 

Fig.  281  is  an  interpretation  of  the  end  of  the  Jete.  One  figure 
is  enough  to  reconstruct  the  movement.  This  is  the  order  of  suc- 
cession : 

1,  bending  the  right  leg, 

2,  leaping  on  the  right  leg, 

3,  descending  on  the  left  leg  and  withdrawing  the  right  leg  from 
the  knee :  characteristic  moment. 

In  the  same  way.  Fig.  318  is  the  characteristic  moment  of  the 
Entrechat,  from  which  the  whole  movement  can  be  reconstructed  in 
these  three  phases : 

1,  bending  both  legs, 

2,  leaping — characteristic  moment. 

3,  descent. 

288.  The  Pirouette  has  two  characteristic  moments,  which  are 
successive:  one  corresponds  to  the  Preparation  (Fig.  319),  the  other 
being  the  Execution  of  the  movement  (Figs.  320  and  321).  The 
first  is  made  with  the  arm  crossed  over  the  chest  in  the  direction  in 
which  the  rotation  is  to  be  made  (260)  ;  the  second  is  made  during 
the  time  consumed  by  the  rotation  on  the  toe  or  the  half-toe. 

These  two  moments  are  represented  in  great  numbers  in  Greek 
art,  sometimes  singly,  sometimes  superposed  (270).  It  is  possible, 
by  taking  a  number  of  them  together,  to  reconstruct  the  Pirouette. 

289.  Figures  in  Series. — By  assembling  these  vases  and  reliefs, 
there  is  every  opportunity  to  trace  from  the  figures  the  essential 
moments  of  the  movement  (286).  Although  the  paintings  and  sculp- 
tures do  not  exhibit  anything  that  may  properly  be  called  a  series 
of  instantaneous  and  successive  movements,  they  do  show  many 
dancers  grouped  on  the  same  vase  in  the  same  movement,  and  rep- 
resented at  different  moments  of  that  movement. 


RECONSTRUCTION   OF    THE   TEMPO 


161 


The  next  point  to  be  considered  is,  how  to  take  a  single  figure, 
and,  from  it,  make  a  true  analysis  of  the  whole  step.  The  following 
example  is  remarkable  on  this  account. 

290.  The  three  Satyrs  with  goat's  feet  (Fig.  386)  are  taken  from 
the  same  vase.     Notwithstanding  the  monstrous  feet,  there  is  the 


Fig.  38G. 


same  ease  of  movement  as  in  the  photographs  that  begin  with  Fig. 
387  and  end  with  Fig.  398. 


Fig.  387. 


Fiir.  388. 


Fig.  38a. 


Fiir.  390. 


Fig.  301. 


Fig.  302. 


This  series  is  an  analysis  of  one  of  the  numerous  forms  of  the 
leap  used  in  our  modern  dance :  the  Cat-leap,  executed  laterally  from 
left  to  right  (Fig.  387  to  Fig.  392)  ;  and  from  right  to  left  in  Figs. 
393  to  398. 


162 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


The  feet  of  A  (Fig.  396)  are  shown  at  the  same  moment  as  Fig. 
395.  Figs.  390  and  396  are,  no  doubt,  the  same  as  figure  B  (Fig. 
386). 

The  feet  of  C,  like  those  of  Fig.  397,  express  the  end  of  the 
leap  and  the  descent  on  the  toe  of  the  left  foot.  The  three  images 
of  Fig.  386  are  an  analysis  of  the  Cat-Leap  from  right  to  left.  The 
essential  moments  of  this  are  the  period  of  suspension  and  the 
instant  when  the  foot  comes  down  on  the  toe. 


Fig.  393.  Fig.  394. 


Fig.  397.  Fig.  398. 


291.  Another  simple  interpretation  is  possible  in  the  case  of  Fig. 
404  which  marks  the  two  extreme  moments ;  the  reconstruction  of 
a  character  step  may  be  made  from  the  two  Figs.  417  and  418 
(307). 

The  analytic  series  presented  by  Fig.  405  is  more  than  complete ; 
the  intermediate  moments  as  well  as  the  essential  ones  are  pictured. 
The  nature  of  the  movement  will  be  indicated  later  (301). 

292.  On  the  other  hand,  there  are  figures  that  give  no  hint  of  the 
essential  moment ;  with  these  it  is  necessary  to  make  up  the  deficiency 
by  comparison.     For  example: 

Figs.  219  and  220  are, — the  first,  an  essential  moment,  the  second, 
a  secondary  moment  of  the  Grand  Battement  (Strike).  It  lacks  the 
other  essential  moment, — that  is  to  say,  a  moment  corresponding  to 
No.  8,  Plate  III.  Still,  by  comparing  these  with  the  photographic 
series,  the  reconstruction  becomes  possible,  by  interpolating  a  num- 
ber of  figures  (189). 

293.  It  is  not  only  the  groups  of  dancers  on  the  same  vase  or  the 


EECONSTRUCTION    OF    THE    TEMPO  163 

same  relief  (289)  which  constitute  an  analytic  series;  often  the  in- 
formation is  gained  from  independent  images  from  different  sculp- 
tures or  vases.  Thus,  tlie  left  arm  of  the  beautiful  statue  part  of 
which  is  reproduced  in  Fig.  155  shows  the  climax  of  the  movement 
which  begins  with  the  arm  of  another  statue  (Fig.  161).  In  the 
same  way,  the  three  figures,  279,  280  and  281,  which  show  three 
essential  moments  of  the  Jete,  are  taken  from  three  different  vases. 
The  series  shows  the  movement  of  which  Fig.  S81  is  the  character- 
istic moment  (283). 

294.  To  recapitulate;  it  Is  possible  to  reconstruct  a  movement 
from  one  figure  which  gives  ^  the  characteristic  moment,  or  from  a 
series  containing  one  or  more  essential  moments,  it  being  possible  to 
fill  in  the  missing  moments  with  photographs  from  living  models. 


164  EECONSTRUCTION    OF    TEMPOS    AND    STEPS 


RECONSTRUCTION  OF  THE  STEPS 

295.  The  sculptured  and  painted  figures  offer  all  the  necessary 
elements  for  the  reconstruction  of  the  Steps  of  the  antique  Greek 
dance. 

As  with  our  own  dance,  the  Step  is  composed  of  movements  re- 
peated (274),  alternated  (275,  276),  opposed  (277),  in  chains 
(273),  simultaneous  (226),  superposed  (272),  etc. 

These  dancers  of  a  long-passed  age  also  understood  the  impor- 
tance of  movements  of  the  Head,  Torso,  and  Arms.  This  may  be  said 
of  the  antique  dance  much  more  truly  than  of  the  modern. 

296.  A  number  of  these  Steps  have  already  been  described ;  the 
Steps  on  the  half-toe  (215),  the  short  Steps  used  in  walking  on  the 
toes  (214),  the  running  Steps  on  the  toes  (242),  the  sliding  Steps 
(226),  the  Jete  Steps  (229),  the  balance  Steps  (234),  the  battu 
Steps  (255),  the  Steps  where  the  turn  is  made  by  stamping  (266), 
the  whirling  Steps  (267).  (The  Fouettes,  Pirouettes,  etc.,  are  not 
here  considered  as  Steps,  but  as  Tempos.) 

The  elements  of  reconstruction,  then,  are:  figures  which  present 
the  characteristic  moment  of  the  Step:  those  that  show  the  essential 
moments :  and  those  which,  by  the  blowing  of  their  draperies,  show 
which  way  the  dancers  are  turning. 

297.  It  is  proper  to  employ  Figs.  274,  276,  285  to  reconstruct  a 
Step  already  described  (226,  234). 

Fig.  274  and  Fig.  276  placed  next  to  Figs.  273  and  275  give  the 
restoration  of  the  essential  moments  at  the  two  extremes  (284) 
which  are  opposed  to  the  moments  of  Figs.  273  and  275,  and  com- 
plete the  plan  of  the  two  Steps.  The  reconstruction  of  these  two 
restored  figures  is  founded  upon  the  following  considerations : 

To  note  the  manner  of  holding  the  arms  and  their  direction,  etc., 
and,  by  this  process,  recognize  the  identity  of  the  oppositions  of 
the  moments  shown  in  Figs.  273  and  275,  which  are  taken  from  two 
vases.     Fig.  273  is  according  to  this  formula: 


(I) 


heconstrUction  of  the  ste^s  165 

Left  leg  held  on  the  ground  in  IV  forward. 
Right  leg  backward  and  bent. 

Left  arm  held  high  and  back  of  the  vertical  line  of  equilibrium. 
Right  arm  extended  forward  the  same  distance  from  the  cen- 
tral line. 
Left  shoulder  turned  front. 


Fig.  S75  shows  the  following  opposition 


(11) 


Right  leg  held  in  IV  forward. 

Left  leg  held  back  and  bent. 

Right  arm  high  and  somewhat  back  of  the  vertical  line  of 

equilibrium. 
Left  arm  extended  in  front  the  same  distance  that  the  other 

is  backward. 
Torso  turns  with  left  shoulder  front. 


These  two  figures  mark  the  two  extreme  moments  of  the  same  Step. 

Fig.  274  is  in  opposition  to  Fig.  273  and  Fig.  276  is  in  opposition 
to  Fig.  275. 

The  same  extreme  moments  are  found  on  Figs.  399  and  400,  and 
determine  the  Step. 

The  Step,  of  which  the  fundamental  mechanism  has  been  fully 
explained  (226)  is  characterized  by  the  movements  of  the  Legs,  made 
by  simultaneous  Slides, — the  torso  being  all  the  time  inclined  back- 
ward, though  not  as  far  as  in  some  of  the  ritualistic  dances  of  Diony- 
sos, — and  by  the  Opposition  of  the  movements  of  the  Legs  and  Arms. 

298.  Vertical  Axis,  Line  of  Equilibrium — Fig.  285  expresses  the 
extreme  moment,  which  is  opposed  to  the  moment  shown  in  Fig.  284. 
It  is  an  inversion,  made  from  a  bronze  statue  (Figs.  180  and  237). 

Fig.  401  shows  a  dancer  in  equilibrium,  with  the  vertical  axis 
passing  through  his  head  and  the  point  of  contact  of  the  two  hands. 

The  intersection  of  the  vertical  axis  with  the  horizontal  line  of 
the  shoulders  determines  the  vertical  line  which  is  the  line  of  equi- 
librium. 

Fig.  402  expresses  the  relation  of  the  moment  represented  in 
Fig.  284  to  this  line.  By  it,  it  is  seen  how  far  the  right  leg  is  in 
advance  and  how  far  the  left  leg  is  posed  to  the  rear,  that  the  head 


166 


EECdKStKUCTION    OF    TEMPOS    AND    STEPS 


inclines  back  of  the  same  line,  and  how  far  it  bends   toward  the 
shoulder. 


Fig.  399. 


Fig.  400. 


By  imagining  these  two  lines  the  distance  of  any  part  of  the  body 

,  from  the  center  can  be  computed. 

]  By  constructing  a  figure  analogous  to  the  preced- 

ing, and  like  Fig.  285  in  moment,  Fig.  403  is  ob- 
tained. This  shows  how  the  dancer  establishes  the 
compensation  of  the  preceding  rupture  of  equili- 
brium, it  being  in  opposition  to  Fig.  402  in  every 
way.     In  other  words.  Opposition  by  reaction. 

It  is  the  search  for  compensation  that  impels  the 
dancer  to  oscillate  between  two  opposing  positions, 
repeating  an  effect  produced  on  the  right  side  with 
the  left.  The  object  is  not  merely  to  please  the  eye 
of  the  spectator,  but  to  secure  equality  of  muscular 
movement  by  exercising,  successively,  the  muscles  on 
each  side  of  the  body. 

Fig.  285  is  the  moment  of  the  Step  that  is  op- 
posed in  the  most  simple  manner  to  Fig.  284.  This 
is  not  merely  a  hypothesis,  it  is  the  attitude  that 


Fig.  401, 


the  body  would  assume  by  instinct. 


RECONSTRUCTION    OF    THE    STEPS 


167 


Fig.  402. 


Fig.  403. 


299.  These  explanations   of  the  mechanism  of  the   Steps,  taken 
from  the  Greek  paintings  and 
reHefs,     sufficiently     indicate 
the  likeness  of  their  Steps  to 
ours. 

The  Greek  dancers  were 
more  often  contented  with  a 
rudimentary  dance  which 
consisted  of  marking  time  in 
place,  and  withdrawing  the 
leg  by  bending  the  knee  or 
lifting  the  hip.  The  move- 
ments were  most  simple,  and 
were,  without  exception,  ex- 
aggerations of  the  walk  or 
the  run.     These  are  the  primitive  dances  the  world  over. 

The  alternating  movement  shown  in  Fig.  404  is  a  leap  from  one 
leg   to    the   other,    of   which    these   two   figures   show   the    essential 

moments. 

300.  Knees  Flexed :  From  Antique 
Vases. — There  is  one  general  remark 
to  be  made  concerning  Figs.  128, 
404,  405,  406,  407,  408,  409,  etc., 
which  is   also  applicable  to  a  great 

number  of  these  dancing  figures. 

The  ceramic  painters,  down  to  the 
end  of  the  sixth  century  B.  C.  seldom 
represented  the  dancer  at  the  moment  when,  by  a  leap,  he  was  sus- 
pended above  the  ground  (69,  72);  always  one  foot,  sometimes 
both  feet  are  on  the  ground :  this  is  because  of  the  artist's  in- 
ability, or  because  he  was  timid  about  breaking  through  tradition, 
so  he  had  recourse  to  a  subterfuge  to  express  a  leap.  Unable  to 
draw  a  dancer  in  the  air,  the  artist  presented  his  dancers  before  or 
after  the  leap,  with  knees  bent,  as  though  he  had  just  descended 
to  the  ground.  Even  these  early  painters  saw  that  there  could  be 
no  leap  without  bending. 

The  knees  are  bent  on  the  most  ancient  vases  and  on  those  of 


Fig.  404. 


168 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


the  sixth   century  B.  C,  as   the  symbol  of  the  moment  in  the  air 
which  is  understood.     It  is,  no  doubt,  a  mistake  to  always  interpret 


Fifi.  4Q6r 


Fig.  405. 

as  a  leap  the  postures  of  the  legs  which  were  favored  by  the  early 
painters. 

But,  the  moment  the  painter  ceases  to  pose 
the  dancer  on  the  ground  and  makes  him  dart 
through  the  air,  he  stops  using  the  symbol: 
he  has  learned  to  express  the  movement  by 
more  direct  means. 

Between  the  two  moments  of  Fig.  404  must 
be  interposed  the  moment  of  suspension  during 
which  the  dancer  leaps  from  the  right  leg  to 
the  left. 

301.  Fig.  405,  in  which  the  raising  and  low- 
ering, progressively,  of  the  dancer's  legs  is  shown,  is  a  remarkable 
example  of  a  complete  analytic  series  (291).  The  knee  of  the  sup- 
porting leg  is  bent  and  it  is  evident  that  the 
dancer  is  leaping  from  the  left  leg  to  the  right : 
he  lifts  the  upper  left  leg  as  well  as  the  upper 
right  leg.  He  executes,  in  place,  a  series  of 
leaps  from  one  leg  to  the  other,  the  hip-action 
being  exaggerated. 

Fig.  406  is  one  of  the  best  types  of  the  lifted 
hip. 

302.  While  lifting  the  hip  as  high  as  he  can, 
the  joyful  dancer  in  Fig.  407,  a  dancer  of  Komos  (415),  passes  his 
hand  under  his  knee,  the  hand  holding  a  horn  of  wine.  The  left  leg, 
bent  at  the  knee,  indicates  a  leap  (300),  which  here  seems  to  be 
reduced  to  a  leap  on  the  same  foot. 

303.  Fig.  408  shows  two  Komos  dancers,  who,  standing  face  to 


Fig.  407. 


RECONSfRUCTION    OF    THE    STEt»S 


169 


face,  execute  a  Step  for  Two  (334).  Dancer  A  executes  a  small 
Jete  in  place.  Dancer  B  lifts  the  upper  legs  alternately  (301). 
The  gesticulation  and  the  wild  play  of 
the  arms  is  strange  enough. 

304.  Figs.  409  and  410  present  the 
same  movements  of  the  legs  alternated 
(299,  301).  One  can  imagine  the  move- 
ments of  the  legs  from  those  of  the  arms. 
The  backward  inclination  of  the  body  is 
not  awkwardness  of  design,  it  is  a  part  of 
the  dance. 

305.  Figs.  411  and  412  are  the  two 
moments  of  a  gross  Bacchic  dance.    Fig. 


Fig.  408. 


412  is  a  reconstruction,  made  to 
get  the  opposition  (277).  The 
dancer,  whose  body  bends  forward, 
leaps  from  one  leg  to  the  other 
with  an  exaggerated  motion  of  the 
hip  (301).  He  descends  upon  the 
half-toe. 

The  gambols  of  the  Satyr  (Fig. 
413)  are  of  the  same  nature.    But 
^'&-  ''^^'  ^'^'  ^^^'  the  motionless  arms  are  held  in  a 

strange  Position,  and  the  leap  is  in  place.     The  face  of  this  dancer 


Fig.  411. 


Fig.  412. 


of  Dionysos  is  stupid  and  drunken.     The  dance  is  a  comic  allegory. 
306.  The  Satyr,  painted  on  a  little  skyphos  in  the  Louvre  (Fig. 


no 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


414),  expresses  equally  a  joyous  surprise  at  finding  a  great  vase 
of  wine.     By  a  lateral  kicky   resembling  one  of  our  movements,  he 

manifests  his  contentment.  The  right  leg 
l^s  extended  sidewise,  while  the  left  leg, 
which  makes  the  leap,  is  in  the  air.  He 
descends  upon  the  right  leg  to  continue 
the  lateral  kick  on  the  left  side. 
\\  307.  In  the  Russian  dance  the  crouch- 
ing pose  is  used,  as  it  was  by  the  Greeks 
at  all  periods  of  their  dance-history. 
Figs.  415,  416,  417  and  418  are  proof  of 
'this.  Fig.  415  is  of  the  sixth  century 
B.  C,  Fig.  416  of  the  fifth  century  B.  C. 
Figs.  417  and  418  are  taken  from  a  Pom- 
peiian  painting.  Figs.  417  and  418  mark  the  two  essential  moments 
of  the  Step,  which  is  a  leaping  movement,  and  between  which  would 


Fig.  413. 


come  the  moment  of  suspension.  While  in  the  air  the  position  of  the 
legs  is  changcfd,  the  dancer  crouching  (Fig.  418)  and,  by  a  violent 
effort,  leaping  high  enough  so  that  he  has  time,  while  in  the  air,  to 
extend  one  leg  backward,  bending  it,  and  at  the  same  time,  to  put  the 
other  forward. 


reconstructio:n   of  the  steps 


171 


Fig.  419  reproduces  an  instantaneous  photograph  taken  during 
the  moment  of  suspension.     The  change  of  leg-position  has  already 


Fig.  415. 


Fig.  416. 


been  made  and  the  dancer  is  returning  to  the  crouching  Position. 
308.  Dances  with  the  Body  Bent  Backward. — Of  these  there  are 


Fig.  41T. 


Fig.  418. 


many  (157,  165).  This  pose  is  used  in  the  Greek  dance  in  all  kinds 
of  Steps.  Witheach  century  that  passed  it  became 
more  exaggerated.  In  the  Alexandrian  bas-reliefs, 
tlie  Greco-Roman  work,  the  plaques  of  terra-cotta, 
and  the  cameos  of  the  imperial  period,  the  type  is 
more  and  more  accented.  It  must  have  originated, 
like  most  of  the  exaggerated  movements,  in  the  Bac- 
^chic  dances,  although,  before  the  third  century  B.  C. 
it  was  not  a  part  of  the  Dionysian  dances. 

The  backward  bend  of  the  torso  is  often  accom- 
panied by  backward  bending  Head.  Sometimes,  to 
get  the  contrast,  the  Head  is  posed  forward  (158) 
with  a  backward  bending  Torso  (Fig.  199,  C). 

In  some  of  the  dances  the  backward  bend  is  used  at  intervals, 
and  in  some  it  is  maintained  all  through  the  dance. 


Fig.  4] 


in 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


309.  Backward  Bending  Maintained. — Two  examples  are  given 
(^66),  The  dancers  represented  in  Figs.  199,  C,  and  352  turn  by 
stamping  on  the  half-toe,  holding  the  body  backward,  but  not  to  the 
point  of  exaggeration :  unless  kept  within  well-defined  limits,  it  pre- 
sents an  obstacle  to  the  working  out  of  the  movement. 

If  taking  small  steps,  the  dancer  may  walk  or  run  with  the  torso 
bent  to  a  slight  degree,  but  not  more. 

310.  Intermittent  Bending. — If  the  curve  to  the 
rear  is  used  with  large  and  rapid  movements  of  the 
legs  it  must  be  intermittent,  the  dancer  being 
obhged  to  stand  erect  in  order  to  take  the  Step. 

This  is  the  case  with  the  dancer  in  Fig.  4S0,  who 
is  shown  at  a  characteristic  moment  of  the  Step. 
The  Jete,  bending  back,  must,  by  reason  of  its 
mechanism,  be  preceded  and  followed  by  movements 
that  demand  an  erect  pose.  The  photographic 
series  which  is  given  below  is  a  reconstruction  of 
the  whole  Step. 

The  dancer  advances  rapidly,  with  short  Steps — 
or  leaps — on  the  half-toe.  After  three  or  four  steps  (Figs.  421,  422, 
423)  she  lightly  bends  on  the  right  leg,  and,  with  a  vigorous  spring, 
Jetes  with  the  left  leg,  forcibly  pushing  the  right  leg  backward,  while 
the  body  bends  very  far  back,  the  feet  and  the  back  approach  each 
other  (Figs.  424,  425,  426).  In  the  next  figure  the  right  leg  descends 
and  the  backward  bend  is  hidden  by  the  readjustment  of  the  position 
of  the  torso.  The  dancer  will  next  recommence  the  series  of  small 
Steps  which  will  end  in  another  Jete. 

The  Jete  of  this  figure  (425)  is  the  same  as  that  pictured  in 
Fig.  420,  except  that  one  is  on  the  right  foot  and  the  other  on 
the  left. 

Between  the  Figs.  424  and  425  there  comes  the  period  of  suspen- 
sion (222). 

The  charming  dancer  in  Fig.  579  uses  the  same  mechanism.  Here 
the  backward  bend  of  the  torso  is  accompanied  by  a  backward  droop- 
ing Head ;  Fig.  427,  A  shows  the  length  to  which  the  pose  was  some- 
times carried  at  the  climax  of  the  Bacchic  dance§. 


fig.  420. 


RECONSTRUCTION    OF    THE    STEPS 


173 


311.  Body  Alternately  Bending  Backward  and  Forward The 

extreme  limit  of  the  pose  is  attained  by  the  dancer  in  Fig.  427  who 
advances  with  short  steps  on  the  half-toe.     If  this  dancer  is  not  one 


Fig.  421. 


Fig.  42i. 


Fig.  423. 


Fi{^.  424. 


Fig.  425. 


File.  426. 


of  those  mad  with  hysteria,  she  certainly  holds  the  pose  indefinitely. 

Many  of  these  dances  can  be  explained  only  on  pathological  grounds. 

The  pose   is   an  integral  part  of  a  Step  which  is   composed  of 

backward  inflections  of  the  body  alternated  with  an  equal  swing 


174 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


forward.  The  torso  oscillates  from  one  side  of  the  vertical  line  to 
the  other  by  opposition  (279),  by  instinct  (280,  298),  swaying  both 
head  and  body  backward  or  forward. 

The  dancer  (Fig.  427)  passes  from  Position  A  to  that  of  B,  which 
is  held  by  her  companion.  These  are  the  essential  moments  of  the 
ame  movement. 

312.  The  Backward  Bend  Made  as  a  Part  of  the  Step. — To  ob- 


Fig.  42 


tain  an  average  between  the  types  of  Attitude  furnished  by  Figs. 
207  and  208,  take  Fig.  428.  This  figure  is,  without  doubt,  an  ex- 
pression of  one  of  the  extreme  moments  in  a  character-Step.  The 
application  of  the  same  principles  already  stated  (280,  298)  enable 
one  to  reconstruct  the  other  moment. 

An  analysis  of  the  whole  Position  of  Fig.  428  is  given. 


(I)  Members- 


Left  leg  supporting. 
Right  leg  bent  back  at  the  knee. 
Left  arm  circled  above  the  head. 
Right  arm  extended  laterally. 


(II)  Body,  head 


JBo 
JHe 


dy  bent  backward  and  to  the  right. 
Head  inclined  to  the  right. 


fefiCONSTRtfcTioisr  6f  the  steps 


175 


By  proceeding  according  to  the  rule,  we  get  the  opposite  pose: 

Right  leg  supporting. 
Left  leg  bent  back  at  the  knee. 
Right  arm  circled  above  the  head. 
Left  arm  extended  laterally. 

x^^.x    ^    ,       ,       ,    Body  bent  forward  and  to  the  left. 
(IV)   Body,  head^„    '*;  •     r      i  ^     ^u    w^ 
^       ^  -^  Head  inclined  to  the  left. 


(Ill)  Members- 


Fig.  429  shows  a  new  ensemble:  this  is  the  natural  opposition  to 
the  moment  of  Fig.  428  (298). 

313.  In  order  to  fix  the  intermediate  moments,  instantaneous 
photVgraphs  were  made,  commencing  with  the  first  moment,  and 
ending  with  the  last  (Figs.  428,  429),  to  determine,  in  other  words, 
the  secondary  movements  between  these  essential  moments. 


Fig.  428. 


Fig.  429. 


This  series  is  the  one  ranging  from  iFig.  430  to  437.  One  image 
(Fig.  428)  is  enough  to  enable  us  to  reconstruct  the  entire  move- 
ment. 

The  dancer,  having  arrived  at  the  Position  reproduced  by  Fig. 
428,  passes  to  the  contrasting  Position.  This  means  oscillating  be- 
tween the  limit-Positions  (Fig.  430  +  '^^^  +  437)  ;  the  intermediate 
moments  will  come  naturally. 

Fig.  430  =  Fig.  428:  essential  moment  (284). 

Fig.  431 :  intermediate  moment. 

Fig.  432 :  intermediate  moment. 


Fij.  430. 


Fig.  431, 


Fig.  432. 


Ei^J^' 


Fig,  434. 


Fig.,  435. 


Fig.  436. 


Fig.  437. 


RECONSTRUCTION    OF    THE    STEPS 


17T 


Fig.   433 :  intermediate  moment. 

Fig.   434  =  Fig.   429 :  essential  moment,  the  opposite  of  the  first. 

Fig.  435 :  intermediate  moment. 

Fig.  436:  intermediate  moment. 

Fig.  437  =  Fig.  430,  returning  to  the  point  of  departure :  essen- 
tial moment. 

314.  Body  Bent  Forward  all  Through  the  Step. — In  contrast  to 
the  positions  of  the  body  held  backward  are  those  where  it  is  posed 


iMg.    U«. 


forward  all  through  the  Step  or  dance.  Figs.  438  and  439  show  the 
essential  moments  of  which  3  and  4  on  Plate  IV  show  the  execution. 
On  a  fragment,  painted  in  red,  dating  from  the  first  half  of  the 
fifth  century  B.  C,  is  pictured  a  dance  of  the  Bacchantes,  which 
expresses  all  of  the  disorder  that  characterized  these  rituals.  There 
are  eleven  of  the  figures,  one  of  them  playing  on  the  double  flute. 
An  idol  of  the  god,  in  form  a  column  surmounted  by  a  head,  pre- 
sides over  the  evolutions  of  the  chorus ;  it  is  impossible  to  say  why 
the  latter  are  grouped  as  they  are.  Four  of  the  women  brandish 
the  thyrsus.  The  others  gesticulate  in  the  manner  common  to  this 
type  of  dances.  Some  have  empty  hands,  others  shake  their  tam- 
bourines or  carry  vases,  all  combine  their  movements  much  like 
Spanish  dancers.     With  head  bent,  their  eyes  seem  to  follow  the 


178 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


movements  of  their  feet.  They  repeat  over  and  over  the  Separation 
(Fig.  438),  Pose  (Fig.  439),  Separate  (Fig.  438),  Pose  (Fig. 
439),  etc. 

It  is  easy  to  see  that  No.  3  of  Plate  IV  corresponds  to  Fig.  438 
and  that  No.  4  of  the  same  plate  is,  except  for  the  hands,  like 
Fig.  439. 

315.  Dancers  Who  Crouch  or  Kneel. — The  being  represented  in 
Fig.  440  walks  in  a  crouching  position,  turn- 
ing his  body  from  right  to  left  alternately. 

The  other  (Fig.  441)  descends  on  the  right 
knee.     He  springs,  leaps  and  descends  upon 
the  left  knee  (Fig.  442),  to  recommence  upon 
the  right,  etc.   The  inflections  of  the  Body  are 
to  the  left  when  the  dancer  descends  on  the 
right  knee,  and  on  the  right  when  he  comes 
down  on  the  left.    Fig.  442  shows  the  opposi- 
tion, and  is  a  minor  moment  of  the  Step. 
The  two  Satyrs,  A  and  B  (Figs.  444—5),  turn,  the  first,  to  the 
left,  the  second,  to  the  right,  using  the  knee  as  a  pivot.    They  appear 
to  be  trying  to  throw  their  right  legs  over  the  vase  without  touching 
it.    B  shows  the  manner  in  which  it  is  accomplished.     His  companion 


Fig.  440. 


Fig.  441. 


Fig.  442. 


makes  a  half  rotation.     This  odd  exercise  is  not  merely  a  game,  it 
is  a  dance. 

The  Satyr  who  is  represented  in  Fig.  446  is  one  of  a  grotesque 
band.  Each  of  the  dancers  who  compose  it  supports  himself  on  the 
knee  and  hand  that  are  on  the  same  side,  alternating  the  knee  and 
hand  as   he  progresses, — not  a  brilliant  feat,  considered  from  the 


ftECONSTUUCTiON    OF    THE    STEPS 


179 


point  of  view  of  Eurhythmy ;  it  is  the  buffoonery  of  a  Satyr  dance- 
drama. 

The  kneehng  posture  of  the  two  Satyrs  at  the  ends  of  the  picture 
(Fig.  578)  is  not  especially  remarkable 
as    a   gymnastic:    but   it   is    certainly    a 
dance,   of   an   obscure   sort,   and    not    a  /^V 
posture  of  adoration.  \^ 

316.  Dances   with   the   Mantle The 

supple  mantle  worn  by  the  women  of 
Greece  was  utilized  by  the  dancers. 
Being  ample  in  size,  it  allowed  the  arms 
to  move  freely,  or,  it  could  be  wound  as 
tightly  as  a  sheath.  In  shape  it  was  a 
large  rectangle  of  wool  cloth.  At  one 
moment  it  might  envelop  the  whole 
body, — the  next,  it  would  be  flung  about 
the  shoulders  as  a  simple  cape,  or  might 
take  on  a  score  of  other  forms. 

The  gestures  which  would  naturally  be  made  by  the  wearers  of  the 
garment  were  used  by  the  dancers  also;  the  gesture  with  the  veil 


Fig.  4«. 


Fig.  4'i5. 


(43),  the  hands  hidden  in  the  mantle  (45),  the  hand  on  the  hip, 
causing  the  drapery  to   ripple, — all  of  these   were  introduced  into 


180 


EECONSTRUCTION    OF    TEMPOs    AND    STEPS 


Fig.  .446. 


the  dance,  partly  as  an  imitation,  partly  for  the  sake  of  their  dec- 
orative effect. 

The  dancer  did  not  play  with  the  mantle  at  will,  the  gestures 
with  it  were  all  determined  by  the  mechanism  of  the  Step. 
Fig.   447:  compare  with  image  B  of  Figs.  3  and  4  (43). 
Fig.  199,  A:  the  dancer  is  entirely  enveloped  in  a  mantle  which 

is    supple    and    transparent.      The 
Step  has  been  described   (226). 
Fig.  448:  compare  (129). 
Fig.    352 :    arms    covered ;    right 
hand  lifted  to  left  shoulder.     De- 
scription of  Step  (266,  309). 

Figs.  449  and  450 :  the  mantle  is 
held  over  the  breast  by  one  hand 
which  is  kept  covered  (160,  163). 
Fig.  451 :  left  hand  on  the  hip 
(46),  right  hand  holds  the  mantle  in  J:he  gesture  of  the  tunic  (44). 
Fig.  452:  the  dancer  turns,  by  stamping,  in  IV  crossed,  on  the 
half-toe  (267).  The  likeness  existing  between  this  terra-cotta  fig- 
urine and  the  preceding  illustration  leads  to  the  conclusion  that  the 
movements  are  the  same.  The  right  foot  of  Fig.  452  is  flat  on  the 
ground,  otherwise  the  pos- 
ture is  the  same  as  that  of 
the  right  foot  of  Fig.  451. 
The  dancer  turns  in  the 
same  manner,  at  a  moderate 
rate  of  movement.  Com^ 
paring  the  two,  it  is  difficult 
to  say  what  is  the  direction 
pf  the  rotation. 

Figs.  1,  2,  3,  4,  5,  6,  7  of 
Plate  V  are  a  photographic 
analysis  of  a  turn  continued 
by  crossing,  by  stamping, 
left  toe  on  the  ground.  The 
antique  model  is  of  the  type  of  Figs.  450  A,  450  B,  451,  and  452. 
The  right  hand  is  on  the  hip;  the  left  hand  is  held  over  the  breast 


Fig.  44T. 


RECONSTRUCTION    OF    THE    STEPS 


181 


Fig.  448. 


with  the  hand  at  the  shoulder,  holding  the  mantle,  which  is  over  the 
mouth. 

Much  might  be  said  of  the  movements  in  which  the  dancer  uses 
her  tunic  during  the  dance.     The  ceramic  paint- 
ers made  a  study  of  whirling  drapery,  though 
they  represented  it  by  means  of  certain  conven- 
tions (Figs.  346,  347,  348,  349,  357,  etc.). 

Fig.  453 :  This  somewhat  lackadaisical  person 
who  is  enveloped  in  a  mantle,  poses  on  her  half- 
toe,  left  hand  held  low  and  back,  right  hand  under 
the  mantle.  She  executes  the  Balance  Step  (233, 
234)  with  the  body  bending  alternately  to  the 
right  and  left,  depending  upon  which  leg  carries 
the  weight. 

Fig.  454 :  one  arm  extended  forward, 
enveloped  in  the  mantle. 

Fig.  455 :  much  the  same,  except  that 
an  animal's  skin  replaces  the  mantle. 
Figs.  362,  363,  364,  365,  and  others 
show  similar  gestures  with  the  mantle. 
317.  The  Veil  Dancers  of  Pompeii. 
— These  are  airy  figures  who  grace- 
fully fling  their  veils  to  the  breeze,  and 
who  are  not  bound  by  the  law  of  equili- 
brium: this  is  the  one  liberty  that  the 
Fig.  449.  artists    have    taken,    and    it    detracts 

somewhat  from  the  value  of  the  representations. 


Fig.  450. 


182 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


But,  even  with  this  fantastic  misrepresentation,  the  images  prove 
that  the  veil  was  a  transparent  thing  that 
could    be    used    most    coquettishly.      The 
painting  has  value  as  a  document  regard- 


Fig.  4&1. 
ing  decorative  painting,  but  none  as  an  inter- 
pretation of  the  dance. 

318.  Unfolding  the  Veil.— The  Greek 
dancers  folded  and  unfolded  the  material 
lightly  and  gracefully.  Often  they  unfurled 
the  veil  above  the  head,  making  a  frame  for 
the  face.  Indeed,  there  was  a  special  dance 
that  seems  to  have  been  devised  for  the  sole 
purpose  of  affording  an  opportunity  to  play 
with  the  veil. 

Fig.  457 :  the  dancer  grasps  the  mantle  by 
its  border. 

Fig.  458:  the  arms  gesticulate:  the  feet 
whirl  in  IV  crossed,  on  the  toes. 

Fig.  459 :  the  arms  are  lifted  high,  and  the 
veil  floats  in  great  folds.  The  Step  is  the 
same  as  the  preceding. 


Fig.  453. 


The  Figs.  107  and  494,  B  may  be  interpreted  as  the  end  of  a 


RECONSTRUCTION    OF    THE    STEPS 


183 


dance  with  the  mantle-play.  The  fabric  is  blown  by  the  wind,  the 
wearer  catching  it  in  plaits. 

The  Victory  of  Paeonios  (15,  383)  is  also  a  dancer  who  plays  with 
her  veil  as  she  leaps.  Similar  representations  are  not  at  all  rare  in 
Greek  statuary. 

319.  Dance  with  the  Joined  Hands. — Under  this  head  may  be 
grouped  a  great  number  of  dancers  who  cannot  be  considered  solely 


%^ 


Fig.  454. 


Fig.  455. 


with  reference  to  the  movement  of  the  feet,  but  who  are  in  a  separate 
class,  making  the  head  and  hands  also  dance.  They  are  most  often 
found  in  character-dances. 

The  interlacing  of  the  fingers  is  made  in  many  ways:  by  reason 
of  the  flatness  of  the  relief  or  the  vagueness  of  drawing,  it  is  often 
difficult  to  arrive  at  an  understanding  of  the  details.  The  series 
of  figures  makes  description  unnecessary. 

Mention  must  be  made  of  statuettes  of  which  the  legs  are  missing, 
having  either  been  destroyed  or  never  having  existed.  It  may  be 
said  that  this  amputated  form  has  its  advantages,  because  it  isolates 
the  gestures  of  the  arms  (Fig.  460). 

Fig.  461 :  the  dancer's  body  oscillates  in  a  peculiar  manner,  bet- 


lS4i 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


The  dancer  walks  heavily. 

PI 


Fig.  45«. 


ter  understood  by  comparing  the  figure  with  its  opposite  in  Fig.  462. 

This  dance  was  slow,  to  the  music  of 

the  lyre,  the  presence  of  which  usually 

denotes  a  dance  of  solemn  character. 

Fig.  463:  the  dancer  slides   on  the 

half-toe.    Compare  with  Fig.  272. 

Fig.  464 :  the  dancer  runs  on  the 
toes  (242).  Note  that  the  palms  of 
the  hands  are  turned  outward. 

Fig.  465 :  Much  like  the  preceding 
types  and  also  Fig.  469,  a  grotesque. 
This  is  from  a  vase  of  Gallo-Roman 
origin  and  is  of  no  value  from  the  art 
standpoint.  It  shows  the  persistence 
of  this  traditional  pose. 

320.  The  three  figures  following  are 
arranged  in  a  series :  were  it  not  for 
the  difference  in  sex  and  costume,  they 
might  be  the  same  dancer  at  three  moments  of  the  same  step,  which  is 
a  Separation  and  Bending, — with 
a  Leap, — and  the  Descent, — a 
Jete. 

Fig.  466 :  Separation  of  the  leg. 
Bending  the  left  leg  for  the  leap. 
Fig.  467:  period  of  suspension 
of  the  leap. 

Fig.  468:  Jete  on  the  right  toe 
(222):  the  left  leg  is  held  back; 
Body  bends  back;  Head  turns 
from  the  side  to  the  back. 

The  instantaneous  photographs 
show  all  of  the  movements  of  the 
Step  (Plate  V,  Images  8,  9,  10,  11, 
12,  13,  14). 

No.  8:  corresponds  to  Fig. 
466. 

No.   9:   the  dancer  executes   a   very   small  leap. 


RECONSTRUCTION    OF    THE    STEPS 


186 


No.   10:  Jete  on  the  right  leg.     The  left  leg  is  withdrawn:  head 
turns   to   the    right:   backward 


bend  of  torso  begins. 

No.  11:  corresponds  to  Fig. 
468  and  makes   the  movements 
of  the  left  leg,  the  Head  and  the 
Torso    which    are    indicated    in        / 
the  preceding  figure. 


Fig.  458. 


Fig,  459. 


No.  12:  the  left  leg  descends  to  position.  The  head  and  torso 
approach  the  perpendicular. 

No.  13:  the  heel  of  the  right  foot  is  lifted:  the  leg  begins  the 
separation. 

No.  14 :  the  same  moment  as  No.  9  and  Fig.  466.  The  right 
leg  is  separated  in  IV  crossed.  The  course  of  the  Step  is 
complete. 

321.  This  strange  figure  executes  a  Jete  crossed.  The  left 
leg  crosses  on  the  right  leg  during  the  moment  of  suspension 
(222). 

Figs.  470-473:  two  essential  moments  of  the  Step,  opposed  (279). 
Fig.  471  is  a  reconstruction  based  on  the  preceding  observations 
(280,  298). 

Figs.    472-473:   two   moments   of   another   Step,   opposed.      Fig. 


186 


KECONSTRUCTION    OF    TEMPOS    AND    STEPS 


473  is  a  reconstruction  (280,  298).  The  same  is  to  be  said  of  the 
tiny  dancer  (195)  who  executes  the  Circles 
with  the  legs,  alternating  the  right  and  left. 
Fig.  474 :  this  dancer  exaggerates  the 
bending  of  the  torso  while  making  a,  move- 
ment with  the  legs  which  would  require  an 
erect  position.  The  figure  sways  the  body 
back  and  forth  with  many  contortions. 


Fig.  460. 

Fig.  475:  A  tour  of 
the  air  ?  (264)  :  the  ap- 
pearance  is  that  of 
pivoting. 

322.   Between  the  two 
dancers  A  and  B,  Fig. 
476,  who  are  two  Ama- 
zons, there  is  a  throne  " 
upon  which  their  queen  Frg.  4ci.  Fig.  462. 

is  seated.     They  execute  in  her  honor  a  step  for  two:  they  turn 


Fig.  463.  Fig.  464.  Fig.  465. 

their  sides  toward  this  high  seat,  facing  each  other  in  opposed  posi- 
tions, and  showing,  by  the  way  that  the  wind  blows  their  tunics,  the 


RECONSTRUCTION    OF    THE    STEPS 


187 


direction  in  which  they  turn.     Dancer  A  turns  from  left  to  right; 
dancer  B  turns  from  right  to  left. 


F»S-  ^^^v  Fig.  467.'  Fis.  468. 

Dancer  A  executes  a  turn  by  stamping  on  the  half  toe;  dancer 
B  slides  upon  both  toes  at  the  same  time  (226).     More,  they  ac- 
company the  movements  of  the  legs  with 
rhythmic    oscillations    of    the    Torso    and 
Head,  alternately  from  right  to  left. 

This   step   for   two   is   nearly   identical 

with  one  on  a  famous  vase,  of  which  the 

.  decoration  represents  a  ceremony  in  honor 

of  the  Indian  Dionysos.     By  an  artifice  of 

the  painter,  the  two  dancers  are  separated 

by  a  long  procession  of  gods.   The  votaries 

are  placed  in  a  double  line,  which,  despite 

the  errors  of  perspective,  make  two  par- 

/W  allel  files.    At  the  center  of  the  procession, 

VI  Dionysos,  mounted  on  a  camel,  his  right 

^  arm  extended,  observes  the  rhythmic  order 

of  the  dance  (Fig.  477).     The  procession 

turns  to  the  right;  dancer  A  (Fig.  478) 


Fig.  469. 


heads  the  march 
procession. 


dancer  B,  apparently  going  backward,  heads  the 


188 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


Fig.  471 


Fig.  472. 


Fig.  475. 


Fig.  474. 


Fig.  47ft. 


Fig.  476. 


RECONSTRUCTION    OF    THE    STEPS 


189 


This  is  much  like  the  effect  produced  by  the  two  Amazons :  com- 
pare dancer  A  (Fig.  478)  with  the  dancers  who  turn  by  stamping  on 
the  half  toe  (266),  notably  Fig.  352,  and  observe  the  blowing 
drapery  at  the  back  and  left  of  the  tunic,  and  it  becomes  plain  that 
the  figure  is  a  replica  of  Amazon  A  (Fig.  476).     Not  only  are  the 


•Fjg.  4Y7. 


costumes  of  the  two  groups  similar,  denoting  the  Asiatic  origin  of 
both,  but  the  arrangement  and  pose  are  alike. 

Dancer  B  (Fig.  478)  executes  the/  slide  at  the  same  time  on 
both  feet. 

An  attempt  to  assign  the  two  .dancers  to  their  proper  place  in 
the  Bacchic  procession: — they  dance  on  each  side  of  the  god,  to 
honor  and  amuse  him.  The  ceramist  has  done  his  best  to  show  a 
slide  on  both  feet  at  each  end  of  the  line  by  these  two  personages 
who  are  on  either  side  of  the  divinfby ;  this  is  an  artifice  of  perspec- 
tive. 

Figs.  479,  480:  Compare  with  the  above  (315). 

323.  The  greater  number  of  tlie  persons  who  execute  the  dance 
of  the  joined  hands  wear  a  costume  very  unlike  the  Greeks  (Figs. 


190 


RECONSTRUCTION    OF    TEMPOS    AND    STEPS 


Fig.  478. 


460,  464,  469,  470,  472,  474,  478,  479).     But  the  dance  itself  is  of 
barbaric  origin,  most  likely  Asiatic,  and,  in  a  happy  moment,  was 


Fig.  479, 


adopted  by  the  Greeks.     The  vase  in  the  Louvre,  from  which  Fig. 
461  is  taken,  has  red  figures,  and  belongs  to  the  period  450  B.  C. 


STUDIES  OF  THE  DANCER 


324.  The  Dance  Properly  So-Called.  Its  Classes. — A  few  words 
as  to  the  method  employed  in  our  schools  for  the  education  of  the 
dancer. 

It  is  necessary  to  begin  the  training  in  childhood.  The  pupils, 
hoys  and,  girls,  enter  the  classes  when  from  six  to  eight  years  old. 
Then,  after  a  careful  medical  examination,  if  they  appear  to  he 
adapted  to  the  work,  they  are  registered  at  the  school.  Their  les- 
sons are  always  given  in  the  morning,  and  last  one  and  one-half 
hours. 

Only  one  master  instructs  the  hoys,  hut  the  girls  are  under  the 
direction  of  four  teachers. 

The  first  ''class'*  is  for  girls  only,  and  the  work  taken  up  is 
divided  into  Petites  and  Half -Principles.  The  term  of  study  is  from 
one  to  two  years,  after  which  come  the  examinations  for  the  next 
class.  The  numher  of  pupils  accepted  is  limited:  the  class  is 
made  up  of  two  sections,  one  of  which  admits  to  the  second  Qua- 
drille, if  the  applicant  is  successful.  The  entrance  to  the  class 
of  coryphees  is  equally  difficult.  The  result  is  that  m^any  fail,  hut 
the  high  standard  is  maintained. 

In  order  to  develop  the  muscles  in  the  required  manner,  the  exer- 
cises must  he  practiced  perseveringly.  The  most  brilliant  artists, 
both  men  and  women,  spend  hours  every  day  in  the  schools,  prac- 
ticing all  of  the  movements  which  are  the  indispensable  preparation 
for  public  representations.  The  public  knows  very  little  of  the  in- 
finite patience  required,  of  the  fatigue  suffered,  by  students  of 
the  ballet,  who,  by  this  means,  educate  their  bodies  to  that  condition 
of  grace  and  litheness  admired  by  the  public.  With  our  modern 
dancers,  the  object  is  to  become  great  artists,  not  to  hasten  through 
the  period  of  instruction.  This,  of  necessity,  means  constant  toil 
until  the  muscles  are  always  capable  of  vigorous  activity  and  always 
supple:  there  is  no  doubt  that  dancers  truly  love  their  art,  else 
they  would  never  endure  the  painful  discipline  necessary  to  per- 
fect it, 

193 


194  .  STUDIES   OF   THE   DANCER 

325.  The  classes  are  held  in  large  rooms^  the  -floors  of  which  are 
built  on  an  incline.  Along  the  walls  are  arranged  the  bars  which 
support  the  students  in  the  "Exercises  of  the  Bar''  with  which  the 
lessons  begin.  These  are  intended  to  make  the  body  elastic,  and 
form  the  first  third  of  the  lesson.  The  Bars  are  on  a  level  with  the 
chest.  By  posing  with  the  heel  on  the  Bar,  the  leg  is  lifted  so  that 
it  forms  an  oblique  angle  with  the  supporting  leg.  The  Bar  aids 
in  holding  the  body  in  place,  but,  as  soon  as  possible,  the  support 
is  withdrawn  and  the  exercises  are  taken  without  any  support  what- 
ever. 

In  order  to  gain  stability  the  first  exercises  are  the  practice  of  the 
five  fundamental  Positions,  Holding  the  feet  sidewise  is  very  diffi- 
cult for  most  pupils;  here  the  Bar  is  useful. 

The  preparatory  exercises  (Bending,  Separating,  Striking,  Circles 
with  the  Legs,  First  Tempo  on  the  Toes,  etc.)  are  executed  with 
the  Bar  until  the  pupil  acquires  the  necessary  equilibrium,  after 
which  he  continues  to  practice  with  the  Bar  for  a  short  time  every 
day,  under  the  eye  of  a  teacher,  as  the  first  period  of  the  lesson. 
The  first  subjects  taken  up  are  the  same  for  every  one.  All  of  the 
dancers  use  the  Bar,  standing  in  a  line. 

326.  Gradation  of  Exercises — The  method  has  been  indicated 
above.  Everything  proceeds  in  a  certain  routine:  the  pupils  follow 
in  successive  Steps  the  long  course  of  study,  repeating  every  day 
the  foregoing  exercises.  The  machinery  is  not  allowed  to  rust, — 
the  dancer  must  work  if  he  expects  to  remain  a  pupil. 

During  the  first  year  the  classes  of  Beginners  and  the  Qua- 
drilles study  the  fundamental  Positions  in  all  their  variations,  their 
derivatives,  and  all  of  the  Preparatory  Exercises  which  are  regarded 
as  the  gymnastics  of  the  dance.  Bending  and  Holding  all  of  the  Po- 
sitions on  both  feet  or  on  one  foot.  Separating  on  the  ground,  half- 
high  in  Principle  position  II  or  IV,  executing  the  Battements  on 
the  ground,  Battement  sustained.  Grand  Battement,  Circles  of  the 
Legs  on  the  ground.  Circles  of  the  Legs  held,  and  Grand  Circle  of 
the  Legs. 

The  following  are  the  Exercises  for  Equilibrium,  movements  made 
slowly,  in  stable  Positions  held  as  long  as  possible.  From  these  are 
evolved,  by  Principle  II  and  Principle  IV  the  movements  ending  in 


STUDIES    OF    THE    DANCER  195 

the  Attitude  and  then  the  Attitude  crossed,  the  Arabesque  and  the 
Arabesque  crossed,  the  Preparation  and  the  Tempo  of  the  Pirouette. 

Little  by  little,  the  pupil  practices  all  of  the  series  of  Tempos — 
Tempos  on  the  ground.  Tempos  in  the  air, — Slides,  Chasses  in  all  di- 
rections. Coupe,  Fouettes,  Jetes  over,  under,  laterally,  Jetes-Ballon- 
nes,  Jetes  crossed.  Cat-leaps,  Tempo  and  Step  on  the  toes.  Assem- 
bles, Mutation  of  the  Feet,  Battu  Steps,  Entrechats  (Cuts),  Jetes- 
Battus,  Slides  in  turning,  Chasses  turning,  Fouettes  turning,  Jetes 
turning.  Rising  on  the  toes  while  turning,  Battu  steps  while  turning, 
whirling  steps.  Turns  in  the  air,  etc. 

The  class  called  the  Coryphees  study  different  Tempos,  Chains, — 
the  course  becoming  more  and  more  complex, — they  execute  ^^Varia- 
tions,** which  are  mixtures  of  different  steps;  these  are  the  superior 
exercises  of  the  dance.  The  Coryphee,  initiated  into  the  mysteries 
of  the  Attitude,  and  able  to  pass  through  all  possible  variations  of 
the  Steps,  possesses  the  complete  technique  of  the  art. 

The  plan  of  exercises  for  each  lesson  in  the  advanced  classes  is 
made  according  to  a  uniform  model.  One  hour  and  a  half  the  pupils 
practice  in  the  following  order: — 1,  Exercises  with  the  Bar; 
2,  Tempo,  Equilibrium  and  Pirouettes;  3,  Tempo  and  Steps  of  the 
Leap;  4,  Chains  composed  of  all  kinds  of  Tempos  and  Steps;  Every 
lesson  constitutes  a  sort  of  review  of  all  the  gymnastics  of  the  dance. 

327.  The  Ballet-Masters. — The  dancers  of  both  sexes,  trained  in 
the  difficult  technique  of  the  dance,  directed  by  their  teachers,  pass 
on  to  the  Ballet  Masters,  with  whom  they  study  the  rules  governing 
the  Grouping,  Steps,  Assembles,  thus  coordinating  the  various  move- 
ments already  learned.  From  him  they  learn  the  Character-dances, 
the  Steps  for  Two,  for  Three,  for  Four,  etc.  In  a  word,  the  fig- 
uration,— the  Choregraphy.  The  Ballet-Master  is  at  once  the  com- 
mander and  the  creator.  He  decides  as  to  the  decoration  which 
makes  for  perfection,  and,  on  occasion,  the  arrangement  of  the 
rhythms  and  the  evolutions  which  he  dictates  to  the  dancers. 

328.  Three  figures,  481,  482,  and  483,  show:  the  first,  the  dance 
of  attitude,  the  other  two,  the  dance  of  motion. 

Fig.  481.  Here,  to  the  music  of  the  double  flute,  the  young  pupil 
holds  the  Attitude  (169,  174).  The  musician  who  accompanies 
him  is  one  of  the  auxiliaries  of  the  Pedotribe  (329)  of  which  the 


196 


STUDIES   OF   THE   DANCER 


long  forked  rod  is  the  recognized  symbol.  This  piece  of  pottery 
has  red  figures,  and  belongs  to  the  first  half  of  the  fifth  century  B.  C. 
It  is  in  the  Louvre. 

Fig.  482.  The  young  dancei*  is  not  content  with  the  double  flute, 


Fig.  481. 


and  adds  the  rattle  of  the  castanets,  to  which  she  executes  her  rhyth- 
mic movements. 

The  musician,  who  is  seated,  is  a  professional;  therefore,  she  be- 
longs to  a  class  which  acquired  an  unsavory  reputation  in  Greece. 
It  must  be  admitted  that  this  scene  takes  place  in  one  of  those  man- 
sions of  joy  where  dancers  and  flute-players  found  constant  occu- 
pation. 

Of  the  same  world,  it  would  seem,  are  the  teacher  and  pupil  who 
face  one  another  in  Fig.  483.     The  former  leans  upon  a  rod  of  for- 


STUDIES    OF    THE    DANCER 


197 


midable  aspect,  which  certainly  is  not  intended  for  use  in  beating 
time,  as  the  young  girl  marks  time  herself  by  rattling  the  castanets. 
The  Step  is  difficult  to  recognize ;  perhaps  it  is  nothing  more  than  a 
simple  sliding  walk,  with  the  play  of  the  head  and  arms  forming 
the  principal  part  of  the  dance. 

329.  The  Gymnastics  of  the  Dance.— The  many  exercises,  wres- 
tling, running,  discus-throwing,  casti/ng  the  javelin,  etc.,  w^re  prac- 


Fig.  482. 

ticed  by  the  children  and  by  the  professional  athletes.  Both  used 
the  gymnastics  of  the  dance,  which  Plato  called  the  mimetic  ele- 
ments of  art,  and  which  were  intended  to  make  the  body  supple: 
they  were  often  very  painful. 

In  fact,  the  elementary  movements  of  the  Greek  dance  were  not 
essentially  different  from  the  other  gymnastics  in  use  at  the  time. 
With  the  professionals  the  children  learned  the  Pyrrhic  dances, 
which  is  enough  to  prove  that  they  received  the  same  education. 
Another  proof  is  given  by  both  Plato  and  Xcnophon,  who  speak  of 
certain  instruction  given  the  professionals  as  dance-gyTnnastics, 

330.  An  effort  to  make  out  a  programme  of  study  from  the  paint- 


198 


STUDIES  OF  THE   BANCER 


ings  and  sculptures,  and  the  texts  of  writers  would  read  about  as 
follows : 

Positions  of  legs, — equilibrium  of  the  dancer. 

Preparatory  exercises:  Bending,  Separating,  Battements,  Circles 
with  the  Legs  (?),  movements  of  the  Arms,  the  Hands  and  the  Fin- 
gers,— movements  of  the  Body  (especially  swaying  forward  and 
backward) — movements  of  the  Head. 

Tempos  and  Steps:  Slides,  Jetes,  Balances,  Assembles,  Mutations 


Fig.  483. 


of  the  Feet,  Turning  by  stamping,  Whirling  on  both  feet,  Pirouettes, 
Chasses  while  turning,  Jetes  while  turning.  Steps  on  the  half-toe, 
Steps  on  the  toe. 

Kneeling,  rising,  crouching. 

Dances  in  armour:  Pyrrhic  dances. 

An  exercise  in  which  the  pupil  was  obliged  to  twist  his  body  into 
a  hoop  and  roll  it. 

The  exercises  are  many,  but  are  of  the  same  type  and  all  have 
the  same  aim — to  make  the  body  supple  and  strong.  The  Pedotribe 
did  not  give  all  of  the  instruction  necessary  for  the  dance,  but  they 


THE    MASTERS    OF    THE    DANCE  199 

did  excel  in  the  Pyrrhic,   and  gave   good   training  in  the  difficult 
mechanism  of  that  dance. 

331.  The  Choregraphy:  The  Masters  of  the  Dance. — The  instruc- 
tion for  the  dance  was  under  the  direction  of  a  Master  of  the  Dance. 
Excepting  the  Pyrrhic,  which  was  under  the  direction  of  an  officer 
of  the  State,  all  of  the  characteristic  dances  were  taught  in  the 
schools  devoted  to  that  purpose.  Many  Steps  were  executed  by 
one  or  more  persons  disposed  in  the  Ensemble  that  formed  the  Chorus, 
The  mimetic  part  of  the  dance  had  its  own  especial  domain,  and 
was  under  the  charge  of  the  Chorus  Master.  The  dancers  were 
taught  to  play  tragedy  in  a  dignified  manner  and  to  play  comedy 
as  well;  this  ability  was  required  of  both  singers  and  dancers,  who 
were  at  once  the  actors  and  the  stage-decoration.  The  Orkhesto- 
didaskalos  was  much  like  a  Ballet-Master  in  the  modern  meaning  of 
the  term. 

There  were  also  lessons  for  the  citizens,  who,  like  the  dancers, 
used  the  gymnastics  imposed  by  the  Ballet-Master.  He  was  indeed 
an  important  personage  and  was  held  in  high  esteem. 

332.  The  Technique  already  explained  is  that  of  the  gymnastic 
movements  of  the  dance,  separating  the  groups  of  dancers  from  the 
chorus-Ensembles. 

The  figures,  painted  and  sculptured,  give  some  idea,  not  only  of 
the  solo  dancers,  but  of  those  who  danced  in  couples,  in  threes,  etc., 
— even  of  a  multitude  dancing  together. 

Unhappily,  the  paintings  on  the  vases  and  the  reliefs  which  rep- 
resent the  lyric  chorus  or  the  dramatic  chorus,  are  rarely  in  perfect 
condition.  Also,  the  difficulties  connected  with  a  proper  under- 
standing of  the  perspective  and  depth,  are  the  cause  of  much  con- 
fusion. 

The  Pyrrhic  is  here  considered  with  the  Choregraphy  because  the 
professionals  found  these  gymnastics  which  predominate  very  im- 
portant: but  they  were,  at  the  same  time,  an  "imitation"  and  had 
their  place  in  the  Ensembles  as  a  very  decorative  feature. 

The  figures  in  painting  and  sculpture  do  not  give  much  detail 
as  to  the  Pyrrhics. 


CHOREGRAPHY 

The  Tuimic  funeral, — The  rhythmic  games 


Plate  IV. 


STEPS  FOR  TWO 


333.  Decorative  Contrasts. — The  movements  executed  by  two 
dancers  are  rarely  in  symmetry:  if  they  are  of  the  same  nature  the 
artist  takes  care  to  not  represent  them  at  the  same  moment;  the 
result  is  a  decorative  contrast  always  preferred  by  the  Greeks. 

Fig.    484    would    seem    to  ;  : 

prove  that  they  had  dances  in 
which  the  performers  faced 
each  other,  dancing  the  same 
step  at  the  same  moment.  But 
Fig.  484  is  a  veritable  heresy 
in  decoration.  Dancer  A  is  a 
copy  of  dancer  S  on  Plate  I. 
B  represents  him  in  the  oppo- 
site pose. 

334.  Two  Men.— The  two  Fig.  484.. 

dancers  who,  in  Fig.  128,  leap  facing  each  other,  the  leap  being  char- 
acterized by  strongly  flexed  knees,  have  their  hands  moving  in  unlike 
manner.  Dancer  A  turns  his  palms  down,  holding  the  hands  low. 
Dancer  B  holds  his  hands  in  the  air.  This  diff*erence  in  detail  de- 
stroys the  deadly  symmetry.  The  same  difference  is  to  be  noted  in 
Fig.  407. 

Figs.  444-445  are  an  example  of  movements  that  are  alike  as  a 
whole,  but  fixed  at  opposing  moments.  The  turns  are  also  made  at 
different  altitudes. 

The  movements  of  the  two  Komos  dancers  seen  facing  each  other 
in  Fig.  408  are  in  totally  different  poses:  each  dancer  has  a  fan- 
tastic step  of  his  own. 

Sometimes  one  of  the  dancers  turns  his  back  completely  around, 
but  one  must  not  take  these  pictures  seriously.  An  illustration  of 
a  case  of  this  kind  is  given  in  Fig.  485,  where  one  person  is  twisted 
at  the  hips. 

203 


204 


CHOREGRAPHY 


An   amusingly   impossible   scene   is   pictured   at  Fig.    486.      The 
Satyr  hops  in  place,  from  one  leg  to  the  other,  lifting  the  hip  in 


Fig.  485.  Fig.  486. 

an  exaggerated  fashion :  the  goat  facing  him  tries  to  copy  the  step. 

335.  The  Dance  of  the  Wine- 
Press  was  executed  by  two  dan- 
cers :  it  is  found  only  upon  the 
vases  of  the  period  when  art  was 
at  a  low  ebb.  It  is  shown  in  a 
double  form. 

Fig.  487:  The  two  dancers, 
with  legs  interlaced,  turn  rapidly 
from  right  to  left  or  left  to  right, 
in  such  a  pose  that  an  oblique  line 
passes  from  the  tops  of  their 
heads,  through  their  hands  and 
rear  feet.     They  crush  the  grapes 

with  their  feet  as  they  turn  to  the  accompaniment  of  a  double  flute. 


Fig.  487. 


Fig.  488.  P'S-  *89- 

Figs.  488  and  489 :  Two  men  mark  time  by  an  exaggerated  lift  of 
the  uppef  leg. 


STEPS    FOR    TWO 


205 


Decorative  symmetry  is  nearly  absolute  in  Fig.  487,  which  is 
taken  from  a  tcrra-cotta  bas-relief  made  in  Italy  in  the  first  cen- 
tury A.  D.  Our  museums  possess  a 
number  of  sculptures  of  this  nature: 
it  introduces  a  new  style  of  ornament 
in  which  a  motif  is  repeated, — the 
very  thing  that  the  Greek  artists 
avoided.  It  is  well  to  observe  closely 
the  example  given,  as  this  kind  of 
decoration  is  not  often  found. 

336.  Two  Women — Among  the 
figures  from  the  door  of  the  Heroon 
of  Trysa  (15),  one  dancer  turns  by 
stamping  on  the  half-toe,  in  IV 
crossed  (267)  ;  two  hierodules 
(daughters  of  Zeus)  turn  in  opposite 

directions.  The  movements  of  the  legs  show  both  resemblances  and 
differences.  The  artist  has  used  very  strong  oppositions  of  the  arms 
to  break  up  the  symmetry,  thereby  adding  to  the  decoration  (Figs. 
490,  491). 


Fig.  490. 


Fig.  491. 


Fig.  492^ 


Of   the    two   dancers    represented    in   Fig.    492,    one    shakes    the 


206 


CHOREGRAPHY 


castanets,  and  leaps  in  place  in  the  manner  already  described 
(305);  the  other,  making  an  exaggerated  gesture  with  her  tunic 
(44)  makes  a  Slide  forward  on  the  toe  of  the  left  foot.  The  heads 
and  legs  of  both  women  are  drawn  in  profile ;  the  Torsos  are  in  full- 


Fig.  403. 


Fig.  -404. 


face.  Was  this  mere  clumsiness  of  design  or  was  it  the  painter's 
intention  to  express  the  idea  of  the  shoulder  turned  to  the  right.'' 
(150). 

More  than  charming  is  the  series  of  dancers  grouped  two-by-two 
on  a  little  vase  of  the  fourth  century  B.  C. 


Fig.  495. 


Fig.  493,  A:  Bending  backward;  play  with  mantle; 
Fig.  493,  B:  Slide  on  both  feet  (226). 


STEPS    FOR    TWO 


^07 


Fig.  496. 


r  Fig.  494,  A:  One  of  the  forms  of  the  run  (82)  ; 
[  Fig.  494,  B :  Play  with  mantle ;  backward  bend. 
I  Fig.   420:  Backward  bend  of  the  torso  (310); 
I  Fig.  369:  Pirouette  on  the  instep  (271). 

Figs.  369  and  420  are  placed  with  these  so  as  to  make  a  third 
group  of  the  same  kind. 

The  contrasting  movements 
practiced  by  the  three  groups 
of  dancers  who  face  one  another 
are  as  evident  as  they  are  com- 
plete ;  only  a  whim  of  the 
painter  placed  them  vis-a-vis. 

But  the  whim  appears  to  have 
a  reason  when  it  is  noted  that, 
in  each  case,  the  dancers  relate 
the  rhythm  of  their  work  to 
that   of  the   opposite  dancers ; 

each  keeping  to  the  common  rhythm  which  is  the  reason  for  their 
association. 

When  the  dancers  hold  one  another's  hands — which  is  seldom — 
their  movements  are  necessarily  more  alike.  They  are  always  in 
the  position  of  the  dancers  of  the  wine  press.     Fig.  495  is  novel, 

showing  two  dancers  turning  in  a 
small  circle  on  the  half-toe,  the  two 
women  being  at  opposite  extremes  of 
the  circle. 

337.  Man  and  Woman — When  a 
man  and  woman  are  associated  in  a 
dance  they  rarely  hold  each  other's 
hands,  and,  in  the  earlier  paintings, 
are  never  represented  as  touching 
each  other  in  any  manner. 
In  the  Greek  dance  the  man  and  woman  are  always  separated; 
therefore,  their  gestures  are  more  mimetic. 

On  the  Corinthian  vases  of  the  seventh  century  B.  C.  the  "Step 
for  Two"  is  executed  with  the  man  and  woman  facing  each  other: 


Fig.  497. 


^08 


CHOREGRAPHY 


,-x 


Fig.  498. 


the  design  is  very  simple.  In  general,  they  leap,  facing,  sometimes 
in  symmetry  (Fig.  496). 

The  vases  with  black  figures  show  some  curious  scenes  with  two 
dancers,  which  appear  mimetic  rather  than  like  a  dance  in  character, 

if  analysed  according  to  mod- 
ern classifications.  Not  sym- 
metrical in  movement,  the  fig- 
ures are  always  associated  in 
the  same  way  (Fig.  497). 

The  Satyr  and  Bacchante 
who  turn  their  backs  to  each 
other  (Fig.  498)  dance  an  odd 
step  which  is  not  without  like- 
ness to  the  English  jig.  As  in 
the  case  of  the  two  Pompeiian 
dancers  (Fig.  495),  they  dance  in  a  circle,  keeping  their  positions  at 
its  edges.  They  remain  back  to  back  as  they  go  around,  leaping  so 
that  the  lifted  leg  is  outside  the  ring,  their  bodies  lightly  inclined 
toward  the  center. 

338,  Maji  and  Woman  with  Arms  About  Each  Other's  Necks,  or 
Holding  Each  Other  by 
the  Hand.— The  three  fig- 
ures, 499,  500,  501,  repre- 
sent dancers  in  couples, 
the  first  of  whom  take  a 
step  familiar  to  the  stu- 
dent. In  Fig.  499  a  Satyr 
playing  a  double  flute  pre- 
cedes the  two  Bacchants,  a 
young  man  and  a  young 
woman,    who,    with    arms 

Fig.  499. 

about  each  other's  necks, 

advance  to  the  same  step.  The  man  carries  a  torch.  Behind  these 
dancers  Eros  Hermaphrodite,  shaking  the  cymbals.  The  movement 
of  these  two  persons  is  nothing  more  than  a  cadenced  walk, — a  joy- 
ous departure  for  Cythera,  with  instruments.  The  advance  of  the 
two  young  persons  in  Fig.  500  is  the  same,  but  they  are  less  closely 


STEPS    FOR    TWO 


W9 


interlaced.  The  girl  carries  a  candelabrum.  Two  persons  precede 
them,  one  playing  a  flute,  the  other  carries  a  sacrificial  vase  and  a 
fillet.  The  fillet  had  a  religious  significance;  it  was  carried  in  cere- 
monial processions  and  swung  to  the  rhythm  of  the  flute.  This  scene 
is  a  dance,  in  the  larger  sense  of  the  word. 


Fig.  500. 

Fig.  501  is  a  relief  from  a  vase  of  the  third  century  B.  C. — very 
poor  work,  as  far  as  the  technique  goes,  but  of  charming  design. 
The  dancer  on  the  left  is 
a  young  Pan,  horned, 
with  the  feet  of  a  goat. 
He  leads  a  young  girl  by 
the  hand,  their  arms  lift- 
ed high,  just  as  was  the 
fashion  in  France  in  the 
elegant  days  of  the  seven- 
teenth century.  The 
lovely  painting  is  an  al- 
legory,— t  h  e  story  of 
Echo.  The  girl  is  uncon- 
sciously pliant;  Pan 
beats  the  rhytlnn  with  his 
fingers.  They  advance 
with  small  steps  on  the 
half-toe.  The  girl's  ges- 
ture with  the  tunic  is  one  of  finished  elegance. 

It  is  probable  that  the  painter,  though  dealing  with  a  mytholog- 
ical subject,  had  the  living  models  before  his  eyes.     When  the  man 


Fig.  501. 


210 


CHOREGRAPHY 


and  woman  hold  hands,  the  work  is  sure  to  be  of  comparatively 
recent  date.  Of  the  more  ancient  work  that  served  as  its  prototype, 
little  remains.  One  exception  is  to  be  noted:  the  motif  is  not  used 
in  work  anterior  to  the  third  century  B.  C.  nor  on  the  Hellenistic 
bas-reliefs.  It  is,  therefore,  safe  to  say  that  men  and  women  did 
not  as  a  rule  touch  each  other  in  dancing. 

339.  The  three  examples  given  prove,  as  exceptions  are  said  to  do, 
the  rule. 

This  sweeping  statement  does  not  take  into  account  the  flying 
figures  of  Pompeii,  because  they  are  merely  decorative  motifs, — 
images  representing  scenes  of  Bacchic  loves,  and  their  value  is  open 
to  doubt.  They  bear  a  certain  relation  to  Greek  art,  but  Greek 
art  of  a  debased  period,  which  inspired  the  dances  of  Italy. 

Those  copyists  were  quite  ignorant  of  the  repugnance  of  Greek 
artists  toward  couples  so  daringly  interlaced:  around  the  earth  we 
may  trace  the  Satyr  and  Menade  executing — a  Boston  step! 


STEPS  FOR  THREE 

340.  Three  Women — Many  works  in  the  Louvre  (salon  E),  pre- 
sent groups  of  three  women  who  dance  in  wild  disorder.    Their  move- 


Fig.  502. 


ments  are  coarse,  rudimentary.     They  leap  in  place  (299  to  305). 
The  interpretation  of  Fig.  502  is  somewhat  difficult.     From  the 


THREE    DANCERS    AND    A    LEADER  211 

perspective  one  would  suppose  that  dancer  B  was  farther  from  the 
spectator  than  the  other  two:  by  disposing  the  three  in  a  circle,  at 
equal  distances  from  one  another,  making  the  arms  of  dancers  A 
and  C  reach  out  to  dancer  B,  making  a  kind  of  broken  chain,  one 
gets  a  clearer  idea  of  what  their  feet  are  doing. 

341.  One  Man  and  Two  Women. — Fig.  504 :  a  Satyr  leaps  in  place, 
between  two  Menades.  They  dance  with  their  arms  and  their  ges- 
tures, which  frame  the  movements  of  the  person  in  the  center,  and 
which  are  not  rigorously  symmetrical.  b 

342.  One  Woman  Between  Two  Men. 
— Fig.  505 :  a  Menade  between  two 
Satyrs.     One  leaps  in  place  from  one 

leg  to  the  other:  the  one  on  the  right        J^  ti 

Slides  on  both  feet  at  the  same  time,  but        |l  JJ 

the  toe  of  the  right  is  above  the  ground.         PI  AJ 

The  Menade  throws  back  her  head  with       a  6^X.  f  /     ^ 

an  orgiastic  gesture.   The  arm-positions  ^"^^^  ^^^^^ 

of  the  three  are  of  the  fundamental  type 
of  Fig.  99,  altered  by  sharp  angles  of  '^' 

the  wrist  and  elbow. 

Fig.  506:  The  three  Bacchants  turn  with  the  same  step:  the  sup- 
porting leg  is  sharply  flexed,  while  the  successive  leaps  are  not  more 
accented  than  in  the  normal  run.  This  rudimentary  Step  danced 
by  the  three,  the  grouping  being  clearly  indicated,  is  remarkable 
for  the  simultaneous  movements  of.  the  legs,  the  three  bounding  at 
the  same  instant,  and  descending  at  the  same  time,  making  an 
ensemble  rarely  found. 

The  gesticulation  with  the  arms,  grotesque  and  easy  to  imagine, 
is  wholly  bacchic  (142). 

THREE  DANCERS  AND  A  LEADER 

343.  Throughout  all  periods  of  Greek  art  there  is  found  a  group- 
ing of  three  female  dancers  in  file  or  side  by  side,  and  preceded  by 
a  Leader.  The  three  women  may  be  Nymphs,  or  Kharites,  or  the 
Hours.  The  person  who  accompanies  them  is  sometimes  Hermes, 
sometimes  Pan  or  Dionysos ; — it  is  not  always  possible  to  say  which. 


^12 


CHOREGRAPHY 


Fig.  5U4. 


iiK.  oiiJ. 


Plate  V. 


13 


14 


10 


11 


12 


THREE    DANCERS    AND    A    LEADER 


213 


The  theme  has  numberless  variants.     The  three  principal  types  are 
those  following. 


Fig,  506. 


'.07. 


344.  The  God  Who  Leads  Precedes  Three  Women  Without  Hold- 
ing Their  Hands. — A  votive  bas-relief  discovered  on  the  Acropolis, 
/and  belonging  to  the  end  of  the 
sixth  century  B.  C,  gives  a  repre- 
sentation of  this  subject.  Hermes, 
enveloped  in  an  ample  cloak,  pre- 
]  cedes  the  three  women,  who  step  to 
the  music  of  the  double  flute. 
Dressed  in  Ionian  costume,  they  ad- 
vance heavily,  their  feet  touching 
the  ground  with  the  whole  sole.  By 
a  painful  effort,  the  sculptor  lifted  the  left  heel  of  one  of  them  (Fig. 
19).      Fig.   507   shows   the   manner   in  which    the   women   held   one 

another's  w^rists.  The  dance  is 
only  a  rhythmic  walk,  without 
character. 

On  another  bas-relief  Pan  is 
substituted  for  Hermes,  proving 
his  identity  by  his  cloven  hoofs. 
Playing  on  the  syrinx,  he  pre- 
cedes the  three  Nymphs.  The 
little  procession  winds  toward  a  bearded  river  god  at  the  left,  whose 
presence  indicates  that  the  three  female  figures  are  rightly  called 
Nymphs.     They  are  covered  by  long  cloaks  which  fall  from  their 


Fis.  508. 


214 


CHOREGRAPHY 


shoulders  (Fig.  508).  The  cadenced  walk  gives  a  calm  and  graceful 
expression  to  their  movement.  The  presence  of  Pan  docs  not  alter 
the  simplicity  of  its  religious  significance  of  the  dance. 

For  the  same  reason,  when  Hermes 
is  the  leader,  there  is  an  atmosphere 
of  dignity  about  the  cortege.  Of  the 
three  females  who  follow  the  god,  the 
two  last  hold  each  other  by  the  hand, 
the  one  in  front  being  separated  from 
them.  This  one  lifts  the  hem  of  her 
tunic,  from  which  peep  some  flowers. 
All  walk  on  the  half-toe,  which  is  the 
special  step  for  the  dancers  who  fig- 
ure on  the  later  sculptures  (18). 
The  charming  painting  reproduced 
in  Fig.  510  is  almost  a  parody  on  the  solemn  dances.  Three  women 
in  file  approach  a  man  made  up  to  look  like  Silenus ;  the  first  holds 
her  mantle  together  with  one  hand  while  the  other  clasps  the  hand 
of  the  next  woman,  who  also  holds  the  hand  of  the  third.     The  whole 


Fig.  509. 


Fig.  510. 


scene  is  replete  with  gayety,  quite  in  contrast  to  the  austere  dance 
in  Fig.  509. 

345.  The  God  Who  Leads,  Holding  the  Hand  of  One  of  the 
Women — Fig.  511  is  remarkable  in  that  it  shows  the  women  with 
arms   entwined.      Fig.   512  presents   two  figures    advancing  in   full 


THREE  WOMEN  WITHOUT  A  L.EADER 


215 


face  view.  These  are  from  the  grotto  of  the  Nymphs.  The  masque 
of  Achelous,  father  of  the  Nymphs,  and  the  god  Pan  figure  in  the 
decorations.     Hermes  conducts  the  three  dancers. 

346.  Three    Women    Without    a    Leader. — A    terra-cotta    from 
Myrina,  shaped  like  a  grotto,  shows  three  dancers  aligned  in  full 


Fig.  511. 


Fig.  512 


face,  without  either  Pan  or  Hermes  accompanying  them.  The  mask 
of  Pan,  suspended  from  the  rock-work,  testifies  to  the  symbolic 
presence  of  the  son  of  Hermes.  The  three  women  come  forward 
in  a  chain  in  order  to  progress  more  rapidly,  playing  with  their 
mantles  in  a  dance-movement  of  the  arms,  the  head  turning  toward 
the  central  figure.  Here  is  a  true  Step  for  Three,  though  some  of 
the  details  are  lost  through  the  mutilation  of  the  terra-cotta.  Still, 
the  figures  seem  very  much  alive.  The  feminine  trio  without  a  leader 
is  a  simple  variant  of  the  scene  with  four  persons  above 
mentioned.  The  absence  of  the  leader  is  not  accounted 
for,  though  the  mask  takes  his  place. 

Many  of  the  later  bas-reliefs  reproduce  the  theme  of 
the  three  women  without  a  leader,  walking  heavily,  as 
in  the  primitive  work,  though  this  flat-footed  walk  is 
an  affectation.  It  is  well  to  inquire  what  these  women 
represent,  who  move  so  stiffly  that  they  appear  to  be 
rooted  to  the  ground.  The  errors  in  perspective  are  so 
great  that  it  is  impossible  to  say  whether  they  are  in  file  or  side  by 
side.  Often  the  first  and  the  third,  who  have  one  hand  free,  make  the 
gesture  of  the  veil  or  tunic :  artifices  employed  by  the  decorators  to 
give  the  hands  something  to  do. 


Fig.  513. 


S16 


CHOREGRAPHY 


Fig.  513  is  a  detail  from  one  of  the  late  bas-reliefs.  Fig.  514! 
exhibits  the  special  characteristics  of  that  conventional  kind  of  art. 

347.  It  is  evident  that  the  persistence  of  the  religious  symbolism 
accounts  for  the  noble  and  stately  dance  of  the  three  women.     This 


Fig.  514. 


dance,  little  more  than  a  rhythmic  walk,  must  have  been  in  honor  of 
some  of  the  chaste  divinities  who  inhabited  the  valleys  of  earth, 
and  who  were  worshiped  with  as  elaborate  a  ceremonial  as  that  by 
which  the  Olympic  gods  were  honored. 


CHORUS  OF  THE  DANCE 

348.  The  Greek  word  for  Chorus  means  much  more  than  ours, 
for  it  implies  a  union  of  the  dance  and  the  song.  The  dance  of 
the  Greek  chorus,  like  the  dance  without  words,  possessed  certain 
decorative  features  which  were  conventions. 

The  sculptures  and  paintings  are  rich  in  choral  representations ; 
but,  unh^^ppify,  the  variety  of  subjects  is  limited.  The  artists,  being 
ignorant  of  perspective,  and  unable  to  suggest  depth,  were  com- 
pelled to  arrange  the  figures  as  though  they  were  in  files,  or  march- 
ing toward  the  spectator.  Therefore,  we  must  not  demand  of  these 
vases  that  they  supply  us  with  information  regarding  all  forms  of 
the  Greek  dance.  It  is  also  very  difficult  to  distinguish  whether 
the  chorus  is  in  line,  in  a  circle,  or  in  a  square.  By  reason  of  the 
lacunae,  it  is  impossible  to  study  the  choric  images  with  reference 


CHORUS    OF    THE    DANCE  ^17 

to   historical  divisions.      Therefore   an   artificial  classification  must 
be  made. 

349.  Choruses  in  Which  the  Dancers  Hold  One  Another  by  the 
Hand — The  representation  of  dancers  in  Files  and  Ranks  holding 
one  another's  hands  was  greatly  favored  by  painters  of  a  remote 
period.  In  a  Farandole  or  in  a  Circle,  the  dancer  loses  all  person- 
ality and  is  simply  one  of  a  chain.  The  artists  of  Dipylon,  who 
present  the  human  figure  as  an  abstract  formula,  objected  to  the 
idea  of  attempting  to  show  all  the  complexities  and  varieties  of 
movement  in  a  dance  by  one  sole  figure.  On  the  contrary,  they 
found  it  easy  to  dispose  many  figures  around  the  body  and  neck 
of  a  vase. 

The  antique  representations  of  the  chorus  are  contemporaneous 
with  the  files  of  soldiers  who  march  with  the  same  step,  all  holding 
their  weapons  in  the  same  attitude,  and  with  the  long  series  of 
mourners  with  their  liands  on  their  heads  or  twisted  in  their  hair 
(Figs.  541,  542).  The  three  subjects — warriors,  mourners,  dancers 
in  files — seem  to  have  inspired  the  artists  to  present  them  in,  as 
nearly  as  possible,  the  same  manner.  ^7'^^f^'^^^    m  UC   ^C^A  t  y^ 

Reduced,  in  some  cases,  to  an  aspect  purely  hieroglyphic,  these 
persons  dance,  their  bodies  mere  triangles,  their  arms  simple  zig- 
zags, an  opaque  silhouette  on  the  ruddy  groundwork  of  the  vase. 
It  is  sometimes  out  of  the  question  to  guess  even  at  their  sex,  except 
to  know  that  the  painters  put  the  women  on  one  side  and  the  men 
on  the  other,  separated  by  the  cytherist  who  plays  for  their  dance 
(Fig.  515) — or  else  there  is  a  file,  with  all  the  women  in  a  group, 
or  an  ancient  version  of  the  Farandole,  with  the  sexes  alternating 
(Fig.  516).  The  singular  disposition  is  not  the  result  of  the  artist's 
clumsy  methods,  but  is  intentionally  ludicrous.  On  the  left  of  the 
dancing  chorus  is  a  player  on  the  dulcimer,  on  the  right,  two 
warriors  who  walk  side  by  side,  with  swords. 

350.  The  Francois  vase  offers  a  fine  specimen  of  that  part  of  the 
dance  ^hich  they  attributed  to  Theseus  (Fig.  517).  There  are 
shown  a  long  file  of  men  and  women  alternating,  who  hold  hands. 
Theseus  is  the  leader.  They  advance,  to  the  music  of  the  lyre, 
toward  Ariadne  in  a  dignified  ceremonial  dance.  The  dancers  are 
none  other  than  the  victims  intended  for  the  Minotaur,  rescued  by 


S18 


CHOK,EGRAt>itY 


Theseus  from  the  death  that  waits  in  the  labyrinth.  They  are  the 
very  persons  who  appear  on  a  curious  vase  of  the  sixth  century 
B.  C.  (Louvre),  ahgned  in  two  rows,  immobile  and  sad,  waiting  to  bo 
given  to  the  monster.     Here  they  are  just  given  back  their  lives, 

and  they  celebrate  their  de- 
liverance by  a  dance  to  the 
lyre  played  by  their  savior. 
Their  happiness  is  not  ex- 
pressed by  joyful  bounds; 
the  painter  makes  them  walk 
on  the  soles  of  their  feet,  with 
no  great  lightness  of  move- 
ment. They  march  with  the 
same  step,  though  the  men  and  women  do  not  take  steps  of  equal 
length.  The  splendid  Dorian  costume  which  the  young  ladies  of 
Athens  wore  made  it  necessary  for  them  to  shorten  their  steps.  Their 
mien  expresses  grace  and  modesty. 

The  bodies  of  the  dancers  are  often  in  three-quarter  view,  with 
the  head  and  legs  in  profile.  This  does  not  imply  either  ignorance 
or  convention.     In  this  dance  those  taking  part  do  not  advance  to 


Fig.  515. 


the  front,  consequently,  as  they  hold  hands,  it  results  in  the  torso 
turning.  The  ceramists  expressed  these  nuances  with  wonderful 
understanding:  the  perspective  is  not  as  good  in  some  other 
paintings. 

The  dancers  of  the  Fran9ois  vase  are  engaged  in  nothing  more 
than  a  slow  and  stately  march. 

In  Fig.  518,  a  relief  from  an  amphora,  may  be  seen  a  rapid  run, 


CHORUS    OF    THE    DANCE 


219 


arms  extended,  hands  clasped.  Here  again,  the  sexes  are  alter- 
nated. The  first  and  last  dancers  carry  wreaths  of  leaves  in  their 
free  hands. 

351.  Fig.  519  reproduces  a  Farandole,  in  which  the  oppositions  in 


Fig.  5 IT. 

attitude  are  worthy  of  study.  The  chain  is  composed  of  five  women 
and  one  man.  The  oddity  of  the  amusing  scene  is  the  reason  for 
mentioning  it  here. 

352.  Numberless  are  the  representations  of  women  alone,  danc- 
ing in  chains,  throughout  all  periods  of  Greek  art.  Nearly  always 
the  dance  is  accompanied  by  the  dulcimer  or  cythera  and  a  double 


Fig.  518. 

flute:  sometimes  music  is  absent.  The  first  dancer  of  the  file  makes 
the  gesture  of  the  veil  with  her  free  hand. 

In  Fig.  5W  the  women  grasp  one  another's  wrists  with  violence. 
Plainly,  they  are  standing  still;  the  Farandole  is  reduced  to  an 
immobile  chain. 

The  Louvre  (room  XII)  possesses  a  fragment  of  the  frieze  of 
Samothrace,  from  a  temple  built  in  the  fourth  century  B.  C,  the 
style  being  "archaisant."     This  bas-relief,  though  badly  mutilated, 


220 


CHOREGRAPHY 


is  interesting  to  the  dancer.  A  long  file  of  women  wind  along  the 
frieze,  two-by-two,  walking  on  the  half-toe,  with  a  good  deal  of 
hip  action. 

There  are  to  be  found  in  the  Louvre  many  bas-reliefs  of  the  de- 
cadent period,   representing  chains   of  dancers ;  most   of  them   are 


Fig.  519. 

mediocre   decorative    compositions,  without   good  drawing,   and   of 

little  interest  to  the  dancer.     The  same  may  be  said  of  many  in  the 

Museum  of  Naples. 

353.  The  Ring — The  Ring  may  be  defined  as  a  chain  composed  of 

dancers,  all  of  whom  join  hands.     The  Ring  is  one  of  the  dances  that 

are  instinctive,  and.  it  ap- 
pears on  the  most  ancient 
monuments.  The  vases  of 
Dipylon  furnish  many  types. 
The  Museum  of  the  Louvre 
possesses  a  figurine  of  clay, 
one  of  a  series  of  similar  fig- 
ures, of  which  the  articula- 
tions of  the  legs  come  below 
the  robe,  which,  blown  by  the 
wind,  closely  wraps  the  fig- 
ure, defining  it.  With  hands 
hidden,    but    each     clasping 

that  of  her  neighbor,  the  women  dance  in  a  circle  (seventh  century 

B.  C). 

A  beautiful  Corinthian  vase  is  decorated  with  parallel  rows   of 

dancers.     The  same  subject  is  used  on  a  vase  with  black  figures, 

to  be  seen  in  the  Museum  of  Corneto,  and  is  reproduced  (in  Greek 

Vase  Paintings)  by  Miss  Harrison. 

The  Louvre  possesses  three  groups  (terra-cotta  and  limestone) 

of  the  decadent  period,  representing  three  women  executing  a  circle- 


Fig.  520. 


CHORUS    OF    THE    DANCE 


221 


dance  around  the  sacred  tree,  while  playing  on  the  flute.  There  are 
also  some  groups,  "abridged  representations,"  to  use  the  expression 
of  M.  Perrot:  the  dancers  who  take  part  in  the  circle  are  many  in 
number.     The  costume  worn  is  Asiatic. 

Examples,  of  which  there  are  a  great  number,  prove  that  the 
Circle  was  practiced  by  both  the  Greeks  on 
the  continent  and  by  the  insular  Greeks.  It 
is  certain  that  the  Circle,  broken  or  un- 
broken, was  in  favor.  There  were  some 
varieties  of  it  that  are  to  be  considered  as 
figures,  where  the  leader  straightens  out  the 
line,  rolls  it  up,  unfolds  it,  always  preserv- 
ing its  independence,  which  was  dear  to  the 
Greek  dancer.  One  had  an  active  roll,  with 
one  hand  free ;  this  one  remained  at  the  head 
of  the  line;  the  others  held  each  other's 
hands,  and  were  simply  links  in  the  chain. 

354.  The  Chorus  in  Which  the  Dancers,  in  File,  Do  Not  Hold 
Hands. — In  tliis  case,  each  dancer  preserves  her  own  independence. 


Fig.  521. 


Fig.  522. 


although  rigorously  conforming  to  the  movements  and  gestures  of 

her  companions.     This  obligation  resulted  in  unity  in  the  Ensemble. 

This  unity  is  equally  apparent  in  the  files  of  dancers.     It  is  clearly 

revealed  when  the  dancers  represent  the  same  moment  of  the  Step. 


CHOREGRAPHY 


Fig.  523. 


Figs.  521  and  522  are  taken  from  a  series  in  which  the  same  type 
is  uniformly  repeated;  the  two  individuals  isolated  give  a  correct 

idea  of  the  whole  file.  The 
unity  of  the  whole  is  even 
more  clearly  manifested  in 
Fig.  523.  Three  Satyrs  with 
ape-like  heads  simultaneously 
execute  the  same  movement  of 
the  legs  (303),  but  their  ges- 
tures do  not  synchronize. 
The  woman  is  not  a  part  of  the  dance-Ensemble,  she  is  merely  a 
spectator. 

Between  the  dancers  in 
Fig.  524  there  is  no  rela- 
tion except  the  pose  of 
the  left  arm.  Dancer  A 
appears  to  be  running; 
dancer  B  to  be  leaping; 
the  third  Slides.  By  join- 
ing the  gestures  of  B  and  C,  one  gets  a  gesture  even  niore  grotesque 
than  that  of  the  figures  in  277. 


Fi^.  525. 


The  files  of  dancers,  analysed  in  another  paragraph  (Figs.  230, 
277)  and  composed  of  persons  represented  at  differing  moments  of 


CHORtfS    OF    tHE    DANCE 


2^3 


tile  same  Tempo  or  the  same  Step,  prove,  in  many  instances,  to  be 
exactly  alike.  The  Greek  dancers  studied  to  synchronize  their 
movements. 

355.  Dancers  in  Ranks. — In  the  alignment  of  dancers  in  ranks  the 
Greeks  experienced  the  same  difficulties  as  in  depicting  the  soldiers 
in  ranks.  Being  ignorant  of  the  point  of  view,  they  were,  perforce, 
contented  to  make  the  figures  lap  over  one  another,  without  fading 


^    ^f 


fl  mM 


■S.  ,0  ,g 


jmmJmm 


Fig.  526 : 


in  to  perspective.  The  lines  remain  parallel,  and  the  front  is  set 
back  from  the  spectator  without  any  angle-variation. 

In  Fig.  525  one  may  see  an  unexampled  piece  of  primitive  awk- 
wardness. With  naive  simplicity,  the  painter  has  made  one  cloak 
cover  all  nine  of  the  women  who  compose  the  rank,  hiding  the  play 
of  the  hands.     The  first  holds  a  crown  in  her  free  hand. 

It  is  certain  that  some  of  the  files  are  to  be  interpreted  as  ranks. 
For  instance.  Fig.  526,  which  is  considered  by  Beule  to  be  a  frag- 
ment of  a  cyclic  Chorus.  Person  A,  who  leads  the  group,  may  be 
left  in  place,  disposing  the  others  in  three  ranks : 

*  *  H 
G  F  E 
D    C     B 

The  sculptor,  unable  to  draw  three  ranks,  one  behind  the  other, 
arranged  three  groups  in  line. 

Examples  of  Files  which  were  intended  to  represent  Ranks  need 
not  be  multiplied. 

356.  The  Chorus  of  the  Theatre. — Fig.  527  is  exceptionally  in- 
teresting.    It  shows  warriors  mounted  upon  dolphins,  arranged  in 


224 


CHOREGRAPHY 


Ranks  of  three,  one  placed  behind  the  other.  The  one  who  leads  is 
a  grotesque  being  who  plays  on  the  double  flute.  These  singular 
persons  belong  to  the  comic  chorus  who  open  the  scene.     The  comic 


Pig.  527. 


chorus,    complete,    is    composed    of    twenty-four    singers,    who    are 
necessary  to  the  burlesque  procession. 


*      *      * 


*  *     D     A 

*  *     E     B 


Representations  like  this  are  rare;  the  simple  juxtaposition  of  per- 
sons in  the  other  perspective,  that  is,  in  file. 

The  comic  chorus  (Fig.  528)  affected  strange  costumes,  imitating 


Fig.  528. 


the  cock  or  lapwing  (78),  and  playing  the  double  flute,  while  swing- 
ing the  arms  like  bat's  wings. 


CHORUS    OF    THE    DANCE 


225 


^'^^^^^^^?^^^^?^^-^ 


M.  Collignon  thinks  that  the  creatures  with  dolphins'  heads  on 
the  monument  of  Lysicrate  (16)  are  choristers  who  compete  for 
victory.  Fig.  529  shows  five  of  these  metamorphosed  persons  at 
the  moment  of  diving  head  first.  The  subject  of  a  charming  Httle 
frieze  is  the  struggle  of  Dionysos  against  the  buccaneers  who  en- 
deavor to  overcome  him  and  metamorphose  him  into  a  porpoise. 
The  billows  of  the  ocean  are  plainly  indicated.  One  can  imagine 
the  singular  movement  of  the  en- 
semble presented  when  the  Chorus 
fell  head  over  heels,  executing  the 
dance  at  the  same  time  that  they 
simulated  being  engulfed  in — the 
boards ! 

The  theatrical  representations 
are  the  subjects  of  many  of  the 
ceramic  paintings,  which,  unhap- 
pily, are  all  but  impossible  to  in- 
terpret. These  paintings  give  an 
abundance  of  material  for  the 
study  of  the  mimetic  dance, 
which,  indeed,  could  not  be  un- 
dertaken without  them, — i  t  s 
scenic  effects,  even  though  the 
])erspective  is  faulty  and  mis- 
leading. 

The  chorus-man  or  chorus-woman,  comic  or  tragic,  is  at  once 
actor,  dancer,  and  singer.  The  dance,  like  a  book,  must  keep  its 
predominant  characteristic,  being  both  the  "imitation  of  the  w-^rd 
and  of  the  voice." 

357.  The  Tratta.— The  Tratta  is  a  dance  of  the  Greece  of  to-day. 
It  is  executed  by  women  who  iiold  each  other's  hands  according  to 
a  special  formula.  Each  of  tliem,  instead  of  taking  her  neighbor, 
reaches  past  her  to  the  next  dancer  on  each  side  and  takes  her  arm, 
thus  making  a  chain  of  crossed  arms.  The  skill  of  the  dance 
consists  in  balancing  the  whole  chain,  producing  alternately  steps 
forward  and  steps  backward,  usually  five  forward  and  three  back, 
executed  obliquely  (205). 


Fig.  529. 


226 


CHOREGRAPHY 


Next  comes  a  short  description  of  the  paintings  on  a  Greek  tomb 
at  Ruvo,  which  shows  a  striking  resemblance  between  the  ancient 
dance  and  the  modern.  There  are  twenty-seven  figures  in  two 
groups,  each  conducted  by  a  man.  The  presence  of  the  masculine 
leaders  is  the  only  point  at  which  the  dance  differs  from  the  Tratta, 
In  which  only  women  take  part. 

The  heavy  walk  on  the  soles  of  the  feet  is  an  awkward  mode  of 
locomotion,  but  for  a  long  period  it  was  the  conventional  mode  of 
walking.     Notwithstanding  its  defects,  which  result  in  a  monotony 


Fig.  530. 


of  parallel  lines,  it  takes  on  a  certain  decorative  value  when  there 
are  many  figures.  The  costumes  are  painted  in  soft  colors,  the 
dress  and  the  tunic  in  different  shades.  Few  of  the  ancient  paint- 
ings give  such  an  impression  of  life. 

358.  Dancers  in  Armour. — These  were  practiced  not  only  at  the 
solemn  festivals,  by  a  great  number  of  dancers,  in  the  presence  of 
a  vast  audience, — they  were  also  introduced  at  the  close  of  feasts, 
when  men  and  women  danced  the  varied  movements  of  the  traditional 
Pyrrhic  for  the  amusement  of  the  diners. 

If  we  hold  to  the  letter  of  Plato's  definition  of  the  Pyrrhic,  it 
will  be  correct  to  consider  the  armed  figures  on  the  vases  and  reliefs 
as  Pyrrhic  dancers.  The  Pyrrhic  is  an  exact  imitation  of  the  move- 
ments of  attack  and  defence;  the  casting  of  the  javelin,  the  parade 


CHORUS    OF    THE    DANCE 


2S7 


with  shields ;  all  of  the  postures  necessary  in  different  exercises, 
enter  into  the  Pyrrhic  dance.  In  studying  it,  a  knowledge  of  the 
military  art  of  the  Greeks  is  necessary.  The  sculptured  figures 
alone  are  not  enough  to  give  a  clear  idea  of  the  dances.  At  the  best 
period  the  ceramic  painters  depicted  the  figures  of  warriors  with  all 
their  paraphernalia.  The  period  of  Dipylon  (8)  shows  files  of 
soldiers  carrying  shields  and  double  lances,  who,  in  monotone  sil- 
houette, march  around  the  bodies  of  the  vases.  There  are  also, 
notably  on  the  plates  of  Rhodes  (9),  warriors  who  stand  face  to 
face  to  wrestle,  and,  on  the  amphora?  of  Corinth,  cavaliers  arranged 
in  symmetrical  ranks  on  either  side  of  a  central  motif.  For  a  time 
these  motifs  were  traditional, 
and  so  were  presented  for  ages 
in  the  ceramic  paintings.  It 
follows  that  similar  representa- 
tions are  often  simple  decora- 
tions which  add  nothing  to  our 
knowledge  of  these  persons. 

The  writers  do  not  distin- 
guish between  the  two  kinds  of 
Pyrrhic,  but  their  descriptions 
inform  us  that  the  dance  was 
sometimes  given  by  a  number  of 
performers  and  sometimes  by 
only  one.  The  figures  of  the 
Pyrrhic  en  masse  were  made  up  of  rhythmic  evolutions,  complex 
studies,  which  excluded  the  more  violent  and  prolonged  individual 
movements :  the  solo  Pyrrhic  was  an  exercise  of  a  mimetic  type,  made 
up  of  running  Steps,  leaps.  Steps  in  retreat,  whirling  Steps,  crouch- 
ings,  movements  of  the  arms  in  infinite  variety, — in  a  word,  all  the 
artifices  of  both  dancing  and  wrestling. 

It  is  better  to  separate  the  Pyrrhics  from  the  armed  men  taken 
from  the  vases  and  reliefs. 

359.  Pyrrhic  for  One. — The  musician  who  plays  on  the  double 
flute,  beside  the  Pyrrhic  dancer,  proves  that  the  exercise  really 
was  a  dance. 

Fig.   531 — a  youth  turns  in  IV  crossed,  or,  to  be  more  exact, 


Fig.  531. 


S28 


CHOREGRAPHY 


executes  a  movement  turning  from  the  head,  with  the  left  foot  as 

a  pivot. 

Fig.  532:  the  warrior,  laced 
in  a  tightly-fitting  costume, 
turns  his  head  to  the  side,  while 
the  whole  body  swings  to  the 
left,  the  right  hand  holding  a 
lance  ready  to  strike. 

Fig.  533:  the  young  Pyrrhic 
dancer,  who  stands  on  a  sort  of 


Fig.  532. 

low  stage,  makes  a  high  leap  in  place, 
like  the  .crossed  Jete  alternating 
(321).  He  is  represented  during  the 
moment  of  suspension. 

The    targeteer   who    creeps    (Fig. 
534),  the  persons  who  kneel  (Figs.  v\%.^^-^'i>- 

535,  536),  are  figures  of  combatants  during  an  engagement.     They 
execute  the  movements   and  hold  the   poses   which  Xenophon   and 


Fig.  534 


Plato  describe  as  the  feints  of  the  Pyrrhic.     Often  the  dancer's  left 
arm  is  enveloped  in  the  folds  of  his  chalmys,  of  which  he  makes  a  shield. 


CHORUS    OF    THE    DANCE 


229 


Fig:.  536. 


The  Greek  amphorae  (10)  present  many  figures  of  lancers  and 
javelin-throwers  who  follow  the  formula  described,  pausing  abruptly, 
and  so  changing  the  movement  of  the  run,  while  retaining  the  sense 
of  a  force  projected.  No  doubt  this  is  the  motive  of  some  of  the 
exercises  used  by  the  Pyrrhic  dancers. 

360.  Pyrrhic  for  Two.— The 
warriors  who  face  one  another  on 
the  vases  of  the  seventh  and  sixth 
centuries  B.  C.  are  the  far-off 
prototypes  of  the  Pyrrhicists 
who  are  seen  in  groups  of  two  on 
the  Hellenistic  bas-reliefs  (17) 
and  in  the  Italian  bas-reliefs  of 
terra-cotta.  In  the  first  case  the 
two  duellists  with  lances  often  at- 
tack one  another  with  fury  (Fig. 
537),  lance  lifted,  the  helmeted 
dancers  giving  a  realistic  imitation  of  actual  combat  (Fig.  538). 
The  left  arm  holds  the  shield,  the  right  lifts  the  weapon,  the  nude 
body  turning  by  stamping  in  IV  crossed,  making  a  circular  track, 
the  dancers  always  standing  on  the  rim  of  this  circle,  its  diameter 
remaining  the  same,  whatever  the  movement  of  the  dancers.     It  is 

probable  that  at  set  intervals 
the  warriors  struck  with  the 
sword  or  lance  (as  the  fig- 
ures in  538  would  seem  to 
prove)  across  the  shields. 

On  a  marble  bowl  in  the 
Vatican  is  sculptured  a  Satyr 
between  the  two  Pyrrhic 
dancers.  The  presence  of 
this  subject  of  Dionysos  be- 
tween the  armed  men  proves  the  antiquity  of  this  exercise  by  which 
the  Spartans — and  from  their  example  the  Athenians — prepared 
for  combat,  though  in  later  times  it  was  altered.  The  Pyrrhic 
dancers  then  came  carrying  the  thyrsus  in  place  of  the  arrows, 
brandishing  rods  and  torches  as  they  mingled  with  the  Bacchants  in 


Fig.  537. 


230 


CHOREGRAPHY 


Fig.  538 


the   dances.      In   this   period   the    transformation   is    complete   and 
definite. 

361.  Pyrrhic  en  Masse — The   same  difficulties   with   perspective 

which  hindered  the  cera- 
mic painters  and  the 
sculptors  of  the  bas-re- 
liefs interfere  with  a  cor- 
rect representation  of  the 
Chorus  in  ranks  and  dis- 
figure the  Ensemble  in 
the  case  of  the  Pyrrhic 
dancers. 

On  the  bas-reliefs  of  the 
temple  of  the  Nereides 
(Fig.  539)  the  warriors 
advance  in  ranks,  facing, 
pressed  close  to  each 
other,  overlapping  with- 
out tapering  to  give  perspective  (335) .  They  take  wide  steps,  giving 
an  impression  of  rapidity ;  all  of  the  legs  on  the  same  side  advance  at 
the  same  moment  with  military  precision,  just  as  our  own  soldiers  do. 
This  rule  of  the  same 
step  imposes  itself  by  ^  vj^^ 
instinct,  therefore  the  \,  /,  it!U//' 
whole  band  moves  with 
one  rhythm,  so  that  the 
eye  has  the  same  impres- 
sion of  rhythm  as  the  ear. 
It  is  reasonable  to  con- 
clude that  the  Pyrrhic 
en  masse  were  subject  to  the  same  rule 
figure. 

A  bas-relief  from  the  Acropolis  (Fig.  540)  shows,  a  troop  of 
eight  Pyrrhicists  in  two  groups  of  four,  who,  without  doubt,  were 
really  in  ranks,  one  behind  the  other  (355). 

H  G  F  E 
D   C  B  A 


The  proof  is  in  the  next 


CHORUS    OF    THE    DANCE 


^31 


They  advance  with  the  same  step :  with  their  left  arms  they  hold 
their  shields  before  them:  their  right  arms,  at  the  sides  of  their 
bodies,  are  held  stiffly  and  somewhat  back  (113)  as  though  the  hand 
carried  some  sort  of  weapon,  which  is,  however,  non-existent  in  the 
picture.  The  chorus-leader,  in  cloak  and  tunic,  walks  gravely  at 
the  side  of  the  troop.  The  bas-relief  is  on  a  pedestal ;  an  inscription 
states  that  the  statue  it  supports  is  to  be  consecrated  to  the  vic- 
torious Chorus  of  the  Pyrrhic  dance. 

It  is  quite  within  the  bounds  of  possibility  that  each  of  the  groups 


Fig.  540. 

of  four  represent  or  symbolize  a  whole  chorus,  which,  at  the  moment 
of  action,  oppose  each  other,  though  their  movements  appear  to  our 
eyes  to  indicate  the  contrary. 

The  only  positive  statement  that  can  be  made  is  that  the  Pyrrhic 
en  masse,  made,  at  certain  moments,  certain  gestures,  in  unison ; 
more  than  this  it  would  be  rash  to  assume. 

362.  The  Pyrrhic  dances  figure  in  the  Athenian  processions.  The 
Parthenon  frieze  (15)  gives  an  important  place  to  the  Athenian 
cavaliers ;  but  it  must  be  remembered  that  the  heavily-armed  soldiers 
who  carry  sword  and  shield  are  not  Pyrrhic  dancers.  When  Athe- 
nian civilisation  had  reached  its  highest  development,  the  military 
])arades  took  on  a  religious  character,  very  different  from  the 
armed  dances  of  the  Lacedemonians.  Spartan  in  origin,  the  Pyrrhic 
preserved  for  a  long  time  its  primitive  characteristics :  it  was  like  a 
miniature  fight;  it  was  the  preparation  for  actual  warfare;  it  was 
something  more  than  a  gymnastic.  Later  it  became  a  brilliant 
spectacle. 


23^  CHOREGRAPHY 

MOURNING  DANCES 

363.  Essentially  mimetic  in  type,  and  their  movements  and  ges- 
tures of  symbolic  import,  the  Funeral  Dances  must,  in  this  resume, 
be  treated  by  reducing  them  to  their  component  parts,  making  a 
study  of  the  origin  and  changes  in  the  symbolic  ritualistic  gestures 
which,  from  long  custom,  became  the  necessary  accompaniment  of 
the  funeral  chants. 

The  funeral  rites,  in  Attica,  were  governed  by  iron  rules.  With 
the  help  of  the  sculptures,  it  is  possible  to  get  a  glimpse  of  the 
customs,  hallowed  by  long  usage,  which  governed  the  ceremony  of 
placing  the  dead  in  the  tomb. 

The  Showing  the  Dead  was  a  decree  of  Solon,  though  the 
custom  antedated  his  time.  Among  the  most  ancient  representa- 
tions of  the  human  form  are  the  long  files  of  persons  shown  on  the 
funeral  vases  of  Dipylon  (8).  They  repeat  over  and  over  the 
strange  silhouettes  (Figs.  541,  542)  which  permit  the  student  to 
believe  that  the  scene  was  governed  by  set  rules  and  that  the  ges- 
tures of  the  different  persons  were  made  at  the  same  moment.  Hired 
mourners  accompanied  their  lamentations  with  rhythmic  gestures. 
Sometimes  they  tore  their  hair ;  sometimes  they  were  contented  with 
merely  twisting  their  hands  over  their  heads.  The  latter  gesture 
was  the  conventionalized  expression  of  the  former. 

During  the  exposition  of  the  dead,  the  chants  did  not  cease; 
usually  a  player  on  the  flute  accompanied  them,  the  cadenced  ges- 
ticulation followed  the  rhythms  indicated  by  the  instrument.  The 
ceremony  is,  for  this  reason,  called  the  Mimic  Funeral.  Grouped 
around  the  dead,  these  mourners  manifested  grief  by  all  of  the  ex- 
ternal signs ;  they  tore  their  hair,  they  beat  their  breasts,  they  rent 
their  clothing;  the  women  scratched  their  faces,  the  men  beat  their 
thighs,  all  spoke  to  the  dead,  holding  out  their  arms  in  their  direction, 
as  though  they  were  the  cause  of  their  sorrow.  Later,  the  gesticula- 
tion became  milder,  as  can  be  proved  by  the  sculptures. 

The  funeral  lamentations  lasted  during  the  journey  to  the  tomb 
and  the  burial.  The  body,  placed  on  a  chariot  drawn  by  horses  or 
carried  by  bearers  on  a  litter,  was  escorted  by  the  relatives  and 
hired  mourners.     The  face  of  the  dead  was  uncovered  during  the 


MOURNING    DANCES 


journey.  The  songs  of  lamentation  and  the  funeral  gestures  served 
to  make  the  ceremony  longer. 

The  representations  of  the  elcpliora,  more  rare  than  the  prothesis, 
have  their  prototype  in  the  great  vase  of  Dipylon  (8). 

The  funeral  repast y  which  followed 
the  shrouding  of  the  dead;  the  sac- 
rifices at  the  tomb  on  the  third  and 
ninth  days,  or  for  thirty  days,  which, 
with  the  Athenians,  was  the  period  of 
mourning;  the  repast  offered  to  the 
dead  at  periods  fixed  by  the  surviv- 
ors: all  of  these  things  are  shown  in 
the  strange  ceremonies  of  the  mimic 
funeral.  The  visits  to  the  stelle  (Fig. 
550)  and  the  sacrifices  presented  in  ^'S-  54i.  Fig.  542. 

great  number,  gave  rise  to  a  kind  of  gesticulation  much  like  that 
which  accompanied  the  mournful  songs  during  the  exposition  of  the 
body  and  the  journey  to  the  tomb. 

364.  The  scenes  taken  from  these  rites  hold  an  important  place 
on  the  vases  of  Dipylon.     These  antiques  show  the  dead  man  on  the 


Fig.  543. 

couch  or  litter,  carried  by  bearers,  or  on  the  funeral  chariot,  the 
face  uncovered;  he  is  surrounded  by  women  who  tear  their  hair 
(Figs.  541,  542).  Although  their  sex  is  not  always  clearly  re- 
vealed, there  is  no  doubt  about  their  being  women,  because  the  back 
of  the  vase  explains  the  gesture.  These  women  are  nude,  but  their 
nudity  is  a  convention  of  the  painters  of  that  time,  being  merely  a 


^34 


CillbEEGRAPHf 


simplification  of  costum6, 
showing  the  human  figure  as 
an  abstract  idea. 

Fig.    543,    from    a    Corin- 
thian jar  of  the  seventh  cen- 
tury B.  C,  exhibits  the  vio- 
Ai-^—x     ^i^^^^  1  L-^  (H  ^"^  ^^^^   gestures    against   which 

(    >^  (y^^^^^^  r^^~^^^:^f^  Solon  issued  an  edict, — ges- 

'"        ^*^       "  tures  which  are  the  outward 

manifestation  of  great  grief. 
These  three  women  tear  their 
hair  by  the  handful.  The  one 
in  the  center  resembles  Fig. 
542,  of  which  it  is  an  explan- 
ation. In  many  instances  the 
funeral  dance  is  cruelly  real- 
istic; this  marks  the  climax 
before  the  modification. 

365.  In  the  case  of  the 
most  ancient  vases,  the  wom- 
en do  not  beat  their  breasts 
or  feign  to  scratch  with  their 
nails ;  the  representation  of 
these  things  was  too  difficult 
for  the  artists  of  that  period. 
But  the  vases  of  the  sixth  and 
fifth  centuries  B.  C.  (10,  11) 
present  pictures  of  the  an- 
cient practices.  The  plaques 
of  terra-cotta,  painted,  and 
contemporaneous  with  the 
/hA    I      .-^- — ^^^^  v?^^^  black-figured  vases,  are  found 

^7        "^^^^^^^J^^^nT^  ^^  ^^  ^^  much  assistance  in 

separating  the  true  gesture 
from  the  gesture  that  is  simply  figurative, — the  brutal  movement  from 
the  symbolic  movement.  The  fine  plaque  in  the  Louvre  (Fig.  544) 
IS  a  true  picture;  the  persons  are  separated   into  two  groups, — 


MOURNING    DANCES 


the  chorus  of  men,  the  leader  of  which  gives  the  signal  for  the 
threnody  (363),  and  the  group  of  women  who  press  close  to  the  dead 
(in  this  case  a  woman) — all  is  according  to  custom.     The  gestures 


fig.  545, 


Fig.  546. 


of  the  different  persons  have  been  described  (Figs.  545,  547,  548, 
etc.). 

366.  The  many  fine  vases  with  red  figures,  of  severe  style  (11),  are 


Fig.  54T. 


ornamented  with  paintings  of  funerals,  and  express  in  a  like  man- 
ner the  same  scenes,  so  it  is  safe  to  believe  the  gestures  were  made 
just  as  represented.  Nevertheless,  it  is  probable  that  the  woman  in 
Fig.  545  is  not  really  tearing  her  hair,  and  that  the  other,  whose 
hand  is  on  her  head,  is  not  really  scratching  her  face  with  her  nails 
(Fig.  546). 


236 


CHOREGRAPHY 


F%.  548. 


Yet  the  vases  with  the  black  figures  and  the  painted  plaques 
(Fig.  544)  all  show  the  women,  and,  in  some  rare  cases,  men  also, 
lifting  their  arms  in  a  symmetrical  manner  and  resting  the  hands 

on  the  head,  but  with- 


out tearing  the  hair. 
This  proves  that  the 
practice  had  been  dis- 
carded, though  the  fig- 
urative gesture  pre- 
serves the  tradition. 

367.  A  variant  of  the 
type  came  into  use  in 
the  sixth  century  B.  C. 
(10). 

The  person  who  takes 
part  in  the  funeral 
lamentation  holds  the 
hand  to  the  head  with  a 
gesture  the  calmness  of  which  reveals  a  very  noble  sense  of  the  dra- 
matic: the  other  hand  is  extended  in  the  direction  of  the  dead  (Figs. 
544,  547,  A,  548).  The  hand  of  the  arm  which  touches  the  head  is 
not  lifted  very  high  in  front, — it  is  not  to  be 
confused  with  the  gesture  of  adoration, 
which  takes  a  form  not 
unlike  this  (Figs.  549, 
550). 

368.  Fig.  551  may  be 
considered  the  prototype 
of  a  funeral  gesture  that 
is  most  decorative:  one 
hand  rests  on  the  head; 
the  other  arm,  instead 
of  being  extended  in 
front,  is  lifted  in  the  un- 
The 


Fig.  549. 

usual  manner  seen  in  the  illustration. 


Fig.  550. 

neck  of  the  vase  from 


which  it  is  taken  is  shown  in  Fig.  552. 
the  same  gesture. 


Fig.  553  shows  a  variation  of 


MOURNING    DANCES 


237 


369.  It  is  certain  that,  on  some  of  the  funeral  lecythes,  the  posi- 
tions of  the  thumb  and  index  finger  have  a  rituahstic  signification, 
though  the  disposition  of  the  fingers  is  not  emphasis  in  the  mimic 
funeral.  They  express  adoration,  and  there  is  evidence  that  they 
held  a  place  of  their  own  in  the 

cult  of  the  dead. 

370.  The  persistence  of  the  ges- 
tures of  the  funeral  ritual  is  also 
evident ;  on  one  amphora,  dating 
from  the  third  century  B.  C,  is 
seen  a  man,  who  lifts  his  left  arm 


Fig.  551. 


Ffg.  553. 


Fig.  552. 


over  his  head,  approaching  a  litter  upon  which  the  dead  is  carried 
(Fig.  554).  Though  the  practice  of  tearing  the  hair  had  long  been 
abandoned,  the  meaning  of  the  gesture  had  not  been  lost,  but  was 
retained  in  a  symbolic  form. 


S38 


CHOREGRAPHY 


Myrina  shows  a  great  number  of  figures  of  which  the  type  is 
uniform  (Fig.  555).  The  Siren  is  winged,  the  legs  terminate  in 
claws ;  the  right  hand  pretends  to  tear  the  thin  hair ;  the  left  hand 
rests  on  the  breast.  The  great 
wings  droop,  folding  around  the 
monster's  body.  These  figures, 
which  were  deposited  in  the  tomb, 
symbolize  grief. 

371.  The  modern  Greeks  have 
preserved  some  of  the  funeral  cus- 
toms of  the  ancients.  The  myrio- 
logues  chanted  by  the  female  rela- 
tives or  friends  of  the  departed, 
and  also  by  hired  mourners,  are  the 
variable     threnodies     with     which  Fig.  555. 

the  ancients  reproached  the  dead 
for  abandoning  his  friends.     The  body,  richly  dressed,  is  exposed  in 
the  death-chamber.     The  coffin  is  not  closed  until  the  moment  of 
burial. 

The  funeral  gesticulation  is  not  the  custom  throughout  all  Greece, 
it  is  retained  mostly  in  the  villages  of  the  interior.  At  the  beginning 
of  the  nineteenth  century,  funerals  were  preceded  by  paid  mourners 
who  tore  their  hair  and  chanted  the  songs  of  the  dead. 


Fig.  554 


THE  PLAY  RHYTHMS 


372.  Homer,  Lucien,  and  Plutarch,  indeed,  all  of  the  Greek 
writers,  use  the  same  word  to  designate  the  dancers,  whether  they  be 
the  ball  players,  the  acrobats,  the  women  who  walk  on  their  hands, 
or  some  other  type.  The  word  "Dancer"  has  a  wide  range  of 
meanings.  Everything  was  considered  a  dance  if  it  was  executed 
to  music,  from  the  exercises  of  the  palestrae  to  the  studied  evolu- 
tions of  the  Chorus. 

The  rowers  of  the  galleys,  who  swung  their  oars  to  the  cadences 
of  the  flute,  or  the  workers  in  the  arsenal  who  toiled  to  the  sound 
of  fifes,  the  orator  who  spoke  his  words  and  timed  his  gestures  to  a 


THE    PLAY    RHYTHMS 


^39 


measure, — these  were  all  dancers,  in  the  larger  Greek  sense  of  the 

word.  The  power  of  rhythm  is 
universally  accepted,  therefore 
the  Greek  made  his  oracles  speak 
in  verse,  and,  many  times  in  his 


Fig.  556. 


Fig.  557. 


history,  the  legend  of  the  lyre  of  Amphion  has  been  realized.     Epa- 

minondas  built  the  walls  of  Messina  to  the 
sound  of  flutes  which  played  the  airs  of 
Sakadas  and  of  Pronomos ;  Lysander  demol- 
ished the  walls  of  Piree  to  the  music  of  the 
flute. 

Without  descend- 
ing to  the  rhythmo- 
mania  of  the  Tyr- 
rhenians, who  are 
said  by  the  Athen- 
ians to  have  even 
beaten  their  slaves 
to  music,  the  Greeks 
did  make  a  general 
and  constant  use  of 
rhythm.  In  obedi- 
ence to  a  racial  in- 
^•8.  668.  stinct,  they  allowed 

music  to  permeate  their  lives.    Their  philosophers  ended  by  proclaim- 
ing the  principle  of  eurhythmy,  the  perfection  of  rhythm  and  in 


Fig.  559. 


MO 


CHOREGRAPHY 


rhythm,  its  more  precious  and  essential  quality.     The  people  made  it 

grow  into  the  very  fiber  of  their  bodies, 
a  process  accomplished  by  many  exer- 
cises.    The  Greeks  made  their  costume, 
their  walk,  their  language, — all  eurhyth- 
mic,   whether   the    result   was   obtained 
by  hard  gymnastics  or  the  less  violent 
I  movements  of  the  dance.     They  appre- 
^ciated  grace  in  playing  ball,  in  dancing 
Con    a    tight-rope,    and,    even    in    these 
I  things,  made  eurhythmy  perfect. 

There  is  a  tendency  to  generalize  in 
speaking  of  eurhythmy.  The  word  is 
one  that  cannot  be  precisely  translated 
into  any  modern  language. 

373.  It  is  not  easy  to  distinguish  be- 
Fig.  560.  tween  the  play-rhythms  and  the  dances, 

properly  so  called.  It  is  quite  possible 
that  many  mistakes  have  been  made,  calKng  dances  games  and  vice- 
versa. 

The  ball-games,  which  the 
Greek  writers  call  dances,  do 
not  hold  any  such  position,  if 
th^r  sculptures  may  be  trust- 
edi  and  are  not  so  represent- 
ed in  a  single  instance. 

374.  The  "Kubisteteres.'' 
— They  dance  on  their  hands, 
head  down,  and,  in  this  in- 
convenient posture,  perform 
many  exercises.  It  is  enough 
to  look  at  the  representations 
of  acrobatic  dancers  (Figs. 
556,  557,  558)  to  reconstruct  the  feats  of  these  jugglers.  Powerful 
enough  to  lift  the  feet,  with  the  weight  of  the  whole  body  resting 
on  the  hands,  and,  substituting  hands  for  feet,  walk  and  dance  on 


Fig.  561. 


THE    PLAY    RHYTHMS 


^41 


them ;  in  the  instance  of  the  kubisteteria  reproduced  in  Fig.  557,  the 
Jete  is  made  by  the  dancer  on  the  hands,  and  who  is  about  to  leap 
backward  on  the  wrists. 

The  British  Museum  possesses  a  very  singular  kubistetcre,  whose 
hands    rest   on    the   back   of   a    crocodile,   the 
dancer's   legs,   raised  vertically,  turn  toward 
the  animal's  tail. 

Fig.  559  is  interesting  because  the  dancer 
rests  upon  the  upper  arms,  leaving  the  fore- 
arms free  to  make  gestures. 

In  the  case  of  the  elegant  figurine  (Fig. 
560)  the  spectator  is  puzzled  to  know  whether 
she  combines  the  play  with  the  hoop  with 
tumbling. 

375.  Dances  on  Vases.  Kottabe. — The 
dancers  of  Komos  (415)  carry  various  acces- 
sories ;  sometimes  it  is  simply  a  drinking-horn 
holding  the  sacrificial  wine,  or  a  fragile  cup. 
These  dancers  enlivened  the  feasts,  entertain- 
ing the  guests  with  exercise  in  equilibrium,  with  the  vases  of  wine 
(Fig.  120). 

The  Kottabe  play  has  many  variations,  but  it  consisted  prin- 
cipally in  darting  on  some  object  which  would  fall 
easily,  the  remnant  of  the  liquid  left  at  the  bottom  of 
the  cup.  In  a  painting  on  one  of  the  vases  a  judge 
watches  while  the  dancers,  holding  the  cups,  execute 
the  movements.  Posed  on  the  left  toe,  they  turn  with 
the  cups  on  the  head.  The  legs  obey  a  certain 
rhythm,  giving  the  scene  the  characteristics  of  the 
dance.  To  become  a  perfect  cup-bearer  required  a 
complete  knowledge  of  eurhythmy. 

376.  The  Rope-dancers  of  Pompeii. — The  greater 
number  of  the  rope-dancers  of  Pompeii  are  dancers 
on  terra  firma,  which  the  fantasy  of  the  painters  represent  on  a 
stretched  cord,  and  who  certainly  find  it  difficult  to  hold  an  upright 
position  (Fig.  205).  Sometimes  they  slide  lightly  along  the  cord  on 
their  toes  (Fig.  561). 


Fig.  562. 


Fig.  563. 


242 


CHOREGRAPHY 


Some  of  these  young  persons  who  dance  are  Satyrs  ;  these  brandish 
the  thyrses ;  others  play  with  vases.  It  would  be  trespassing  on  the 
domain  of  fiction,  which  reigns  sovereign  on  these  Pompeiian  frescos, 
to  pretend  to  find  in  them  anything  that  can  be  treated  as  a  serious 
contribution  to  our  knowledge  of  the  dance. 

377.  Excepting  the  ball  games,  no  outdoor  play  is  represented 
in  painting  or  sculpture.     The  writers  speak  of  those  games  where 


Fig.  561. 


the  players  leaped  up  and  down  in  an  exaggerated  manner  on  a 
slippery  cord,  inevitably  meeting  with  misadventures,  to  the  delight 
of  the  spectators.  A  player  marked  the  rhythm  to  which  these 
leaps  were  made. 

378.  Play-rhythms  for  Two. — The  aulette  was  often  accompanied 

by  the  ephedrismos.  It  is  supposed,  from 
the  aspect  of  the  players  represented  in 
Figs.  564  and  565,  that  the  rhythm  acted 
as  a  regulator. 

Properly  speaking,  the  ephedrismos  is  a 
wager,  the  loser  being  obliged  to  carry  the 
victor  on  his  back.  Representations  of  it 
are  numerous  in  all  periods  of  Greek  art. 
Fig.  56^  is  one  of  the  oldest:  this  is  a 
youth  who  carries  a  younger  boy  on  his 
back  in  a  sort  of  game,  the  point  being  to 
throw  the  person  being  carried  on  the 
ground. 
The  play  takes  on  another  form  in  Fig.  563.  The  one  who  carries 
the  other  is  motionless,  his  hands  held  between  his  knees ;  astride  his 


Fig.  565. 


THE    PLAY    RHYTHMS  243 

neck  is  his  companion,  who  beats  his  hands  in  time.  A  flute  player 
marks  the  rhythm. 

Representations  analogous  to  Fig.  562  are  frequent.  On  a  cup 
of  the  fifth  century  B.  C.  (Millin,  Antique  Vases,  II,  PI.  X)  is  shown 
a  picture  of  Hercules  carrying  Dionysos,  who  holds  a  drinking- 
horn. 

Sometimes  a  man  carries  a  woman  (Heuzey,  Figurines  of  the 
Louvre,  XXXIII,  2),  or  one  woman  on  the  back  of  another,  one 
playing  with  a  ball  (Pottier,  Figurines  of  Terra-cotta,  p.  90). 

It  is  not  rare  to  find  an  intaglio  showing  one  Satyr  on  the  back 
of  another  (Cabinet  of  Medallions). 

379.  The  two  Satyrs  (Fig.  564)  are  engaged  in  a  comic  wrestling 
bout.  Each  is  supported  on  one  hand  and  both  knees,  trying  to 
force  one  another  backward. 

380.  A  lovely  group  of  Tanagra  figurines,  in  the  Louvre  (Fig. 
565),  must  have  the  following  comment:  the  movements  are  exe- 
cuted by  two  young  girls  and  may  be  either  simultaneous  or  suc- 
cessive ;  they  are  at  the  point  of  departure,  or,  perhaps,  at  the  end, 
the  expression  of  the  movement  being  the  same. 

1.  Girl  A  turns  in  place  from  left  to  right,  without  letting  go  the 
hands  of  her  companion,  turning  her  shoulders  and  head  under  the 
arms.     The  crossing  of  the  arms  is  reversed  as  the  game  proceeds. 

2.  The  other  girl  turns  at  the  same  time  in  the  opposite  direction. 
This  game  with  the  hands  crossed  goes  back  to  the  earliest  times. 

According  to  the  movements  executed  simultaneously,  or  suc- 
cessively, by  the  two  players,  they  are  classed  as  single  or  double. 

The  interpretation  given  is  founded  upon  the  relation  existing 
between  the  Tanagra  group  and  the  play  practiced  in  the  Eastern 
countries. 


THE    DANCERS 


GODS  WHO  DANCE 

381.  The  writer  has  endeavored,  throughout  this  study,  to  keep 
the  personality  of  the  dancers  separated  from  the  steps  they  exe- 
cute. It  has  been  necessary  to  consult  the  Greek  authors  and  enter 
into  their  philological  discussions  in  order  to  be  sure  of  giving  the 
correct  names  to  the  dancers  and  to  explain  the  scenes  in  which 
they  figure. 

The  monuments  themselves  have  been  interrogated,  and  the  ex- 
planations so  obtained  have  been  more  easy  to  understand  by  the 
presence  of  explanatory  legends  on  vases  and  bas-reliefs,  and  the 
persistence  of  traditional  types  of  dancing  figures. 

382.  Sometimes  the  gods  of  ancient  Greece  are  themselves  the 
dancers :  Zeus,  Hera,  Demeter,  Apollo,  Aphrodite,  Hermes,  Athena, 
hot  only  preside  at  the  dances  of  their  worshipers, — the  poets  tell 
us  that  these  and  other  gods  took  part  in  person.  The  dignity 
attributed  by  the  Greeks  to  this  art  is  nowhere  more  clearly  revealed 
than  in  the  scenes  where  the  gods  of  high  Olympus  honor  their 
favorites  by  appearing  in  the  dances. 

The  high  gods  deigned  to  play  the  role  of  leader  or  accompanist. 
The  dances  at  which  they  preside  are  usually  nothing  more  than  a 
stately  walk,  which  varies  but  little.  The  bas-reliefs  of  Thaos 
(Louvre)  exhibit  this  type  of  representation.  Apollo  accompanies 
playing  on  some  stringed  instrument:  Hermes  conducts  the  proces- 
sion of  Nymphs.  The  feet  of  the  women  are  not  lifted  in  the  same 
time:  an  elegant  and  restrained  gesture  of  the  arm  is  the  only 
symmetrical,  dance-like  movement  of  the  Ensemble. 

Usually,  as  indicated  by  the  vases,  the  high  gods  did  little  more 
than  assist  at  the  dances  of  the  inferior  divinities.  Such  was  the 
Asiatic  Cybele,  whose  cult  evoked  the  most  furious  saltation,  but 
who  herself  advanced  with  a  grave  manner  which  excluded  all  violent 
motion,  carrying  a  dulcimer — like  her  worshipers — ^to  the  rhythm 
of  which  they  whirled  in  delirium,  but  which,  in  her  hand,  was  only 

247 


248 


THE    DANCERS 


a  symbol;  Cjbele  comes  forward  with  majesty,  as  befits  the  great 
mother  of  the  gods. 

Among  the  secondary  di- 
vinities, tlie  Charites,  the 
\  Nymphs,  and  the  Hours  are 
/  the  principal  ones.  The  dance 
is  heavy  and  clumsy:  here  the 
paintings  are  in  direct  contra- 
diction to  the  poets,  who  speak 
of  the  light  Step  of  the  gra- 
cious goddesses. 

The  two  dancers  par  excel- 
lence are  Nike  and  Eros. 

383.  Nike     the     Dancer.— 


Fig.  566. 

Nike  is  always  winged.  The  personi- 
fication of  Victory,  she  is  also  its  mes- 
senger. In  raising  the  Temple  of  the 
Wingless  Victory  the  Athenians  tore 
down  this  tradition,  craftily  depriving 
Victory  of  her  wings  so  that  she  might 
never  leave  Athens. 

The  primitive  artists  were  limited  to 
the  winged  form;  they  were  not  able  to 
devise  for  a  figure  in  the  air  an  expres- 
sion of  rapidity  of  movement,  so  they 
were  obliged  to  represent  the  goddess 
as  running,  the  wings  serving  only  to 
give  lightness  to  the  figure  (Fig.  566). 
Nike  was  not  slow  to  adopt  the  gesture 
of  the  tunic,  so  dear  to  other  running 
figures:  she  made  the  gesture  in  double  form  (Fig.  106). 

At  a  later  time  the  artists  became  more  daring  and  attempted 
to  show  her  leaping.  An  amphora  in  the  Louvre,  of  the  middle 
of  the  fifth  century  B.  C.  shows  Nike  soaring  through  the  air,  her 


Fig    5Ci 


GODS    WHO    DANCE 


^49 


feet  parallel,  toe  down,  as  though  she  were  leaping  over  a  rope;  a 
curious  detail  is  that  the  traverse  position  of  the  goddess  on  the 
hody  of  the  vase  shows  that  the  painter's  only  way  to  give  an  idea 
of  fliglit  was  to  incline  the  wings :  the  artifice  suggested  to  him  the 
tliought  of  the  instability  of  a  body  in  the  air. 

Near  the  end  of  the  fifth  century  B.  C.  Pa^onios  cut  from  a  block 
of  marble  a  flying  Victory  (Fig.  567)  in  high  relief,  who  is  suspended 
in  space.  The  form  and  direction  of  her  flying  draperies  show 
that  the  Victory  of  Olympus  is  nearing  the  earth.     The  resistance 


Fig.  5C8. 


to  the  air,  produced  by  the  vertical  descent,  aff^ects  likewise  the  right 
leg  which  is  covered  by  the  tunic:  the  left  leg,  nude,  and  placed 
forward  to  touch  the  earth,  escapes  from  the  folds  of  the  chiton. 
The  veil,  blowing  about  her  at  the  back,  is  lifted  high, — of  this  only 
fragments  remain,  but  enough  to  enable  us  to  reconstruct  the  move- 
ment of  the  material :  it  would  seem  that  Paeonios  had  been  inspired 
by  the  gracious  dancer  herself  to  create  this  play  of  the  mantle, 
which  combines  fullness  and  flexibility.  The  dots  in  Fig.  567  are  an 
indication  of  the  supposed  movement  of  the  arms  and  draperies. 
The  movement  is  suggested  by  one  of  the  figures  in  high  relief  from 
the  temple  of  the  Nereides. 

Of  very  difl'erent  aspect  are  the  twelve  Victories  whose  feet  rest 
on  the  foot  of  the  throne  of  Olympian  Jove, — the  work  of  Phedias. 
Pausanias,  not  always  alive  to  details,  speaks  of  the  attitude  of 
these  dancers.     There  is  little  to  prove  the  exact  time  in  the  fifth 


S50 


THE    DANCERS 


century  B.  C.     Nike  adopted  the  forward  dancing  movement,  and  it 

would  be  impious  to  suppose  that  a  human  dancer  served  as  a  model 

for  Nike  as  Paeonios  has  presented  her. 

The  Hellenistic  "coroplastie,"  reflecting 
ihe  great  art  of  the  day,  did  not  think  of 
Nike  otherwise  than  as  a  dancer,  and  she 
often  holds  in  her  hands  the  attributes  of 
Dionysos,  the  castanets,  the  crowns  of 
leaves ;  she  belongs,  like  Eros,  to  that  cycle 
of  gods  who  at  all  times  arc  associated  with 
Aphrodite.  The  new  Nike  is  a  professional 
dancer ;  her  poses  are  elegant,  her  arms  take 
on  the  most  gracious  curves  (Figs.  144, 
152,  253). 

A  great  number  of  the  figurines  were  in- 
tended  to   be   suspended:   there   is,   in   the 

movement  of  their  legs,  a  liberty  of  motion  that  transcends  truth: 

the  modeler,  in  order  to  suggest  flight,  paid  no  attention  to  the  laws 

of  equilibrium. 

The  dancers  who  soar  without  wings  on 

a  charming  vase  of  the  fifth  century  B.  C, 

— see  Fig.  568, — show  the  extent   of  the 

convention.     The  legs  are  lightly  bent  at 

the  knees,  the  feet  are  close  together,  the 

inferior  members  appear  to  the  eye  to  be 

flying.     The  curve  of  the  whole  body,  in- 
clined beyond  the  normal  center  of  gravity, 

has  more  elegance  than  if  it  obeyed  that 

law.     The  only  indications  of  dance-move- 
ment which  remain,  in  the  case  of  the  small 

paintings,  are  furnished  by  the  arms  of  the 

dancers.     The  legs  are  inactive.     Thus  it 

is  seen  that  they  are  similar  to  the  winged 

Nike  intended  to  be  suspended. 

The  flying  Victories  returned  to  the  ancient  traditions  in  making 

the  double  gesture  with  the  tunic  (Fig.  569). 

384.  Eros  the  Dancer. — In  this  history  of  the  dance  enough  has 


Fig.  570. 


GODS    WHO    DANCE 


251 


been  said  of  Nike.  In  the  fifth  century  Eros  is  winged;  though 
tardy,  he  at  last  makes  his  appearance  as  a  dancer. 

In  the  fifth  century  B.  C.  Eros  personifies  love,  leaving  all  his 
playfulness  behind  him.  He  becomes  a  melancholy  and  grave  youth. 
This  is  the  period  of  the  Hellenistic  effeminacy,  which  gives  a  new 
interpretation  to  religious  ideas.  This  period  is  that  of  the  Eros 
Hermaphrodite  who  loves  to  dance  or  to  lead  a  dance  (Fig.  188) 
(E.  Pottier). 

Another  type  of  Eros  appears  in  the  fourth  century  B.  C,  the 
winged  babies  of  Tanagra,  charming  chil- 
dren, full  of  roguishness.  Often  they,  like 
the  Nikes,  are  intended  to  be  suspended.  It 
is  to  be  regretted  that  there  is  no  indication 
as  to  the  method  of  suspension,  when  it  is 
evident  that  the  figures  to  be  seen  in  the 
cases  of  several  museums  are  really  figures 
in  the  air.  Posed  on  the  feet,  they  lose  all 
their  individuality  and  cease  to  be  interest- 
ing. 

Toward  the  end  of  the  fourth  century 
B.  C,  all  of  the  Eros,  whether  young  chil- 
dren or  youths,  take  part  in  the  Bacchic 
ceremonies  and  carry  the  attributes  of  Dio- 
nysos.  They  mingle  with  the  Satyrs  and 
Menades  and  are  as  indefatigable  in  their 

dancing,  though  their  movements  are  less  violent  than  those  of  the 
Bacchic  dancers.  They  are  more  joyous  than  their  noisy  com- 
panions, and  are  always  governed  by  the  law  of  eurhythmy. 

385.  Atys  Dancer. — Atys  is  a  Phrygian  divinity,  whose  cult  was, 
in  a  happy  hour,  introduced  into  Greece,  though  the  exact  time 
remains  a  secret  of  the  gods.  The  lover  of  the  mother  of  the  gods, 
to  whom  he  is  always  most  tender,  he  is  not  at  all  times  to  be  found 
among  the  gods  of  ancient  Greece.  Like  Sabazios,  like  Men  and 
Mithras,  he  is  officially  looked  down  upon;  yet  it  is  quite  certain 
that  his  mysteries  were  celebrated.  He  presents  an  Oriental  aspect ; 
a  Phrygian  helmet  on  his  head,  he  wears  a  costume  of  eastern  type, 
a  detail  of  which  is  the  pantaloons  that  are  wrapped  around  his  legs. 


Fig.  '57L 


252 


THE    DANCERS 


This  Atys  is  a  dancer.  He  is  not  the  only  winged  dancer, — there 
are  Nike,  Eros,  Psyche.  The  suspension  at  the  back  (Fig.  571) 
permits  this  figure  to  be  studied  under  the  conditions  which  the 
artist  intended. 

386.  The  Curetes  (Clashers). — The  ancient  writers  disagree  as  to 
the  origin  of  the  Pyrrhic,  but  all  are  in  accord  regarding  the  most 
ancient  of  all  the  dances  in  armour  of  which  history  guards  the 

m  e  m  o  r  y, — t  h  e 
dance  of  the 
"Clashers."  Their 
role  was  to  play 
for  the  infant  Zeus. 
Rhea,  the  great 
mother  of  the 
gods,  married  Kro- 
nos,  and,  to  pre- 
vent the  infant 
from  the  voracity 
of  her  husband, 
charged  the  armed 
men  to  clash  their 
weapons  to  drown 
the  sound  of  his  cries.  The  Clashers  acquitted  themselves  well,  clash- 
ing their  helmets,  swords  and  shields.  Their  dance,  necessarily  noisy, 
is  distinguished  by  disordered  movements,  made  necessary  by  the 
essential  point  of  legend. 

The  sculptures  which  represent  their  exercises,  are,  unhappily, 
nearly  all  of  them,  of  the  lower  period  of  art,  and  therefore  con- 
ventional. 

These  dancers  always  turn  by  stamping,  on  a  circular  track 
(Fig.  338).  They  dance  in  groups  of  two  or  three.  They  strike 
their  swords  against  each  other's  shields,  or  hurl  their  shields 
against  those  of  their  companions.  Ordinarily  the  infant  Zeus  is 
represented  in  their  midst  (Fig.  572). 

The  scenes  in  which  the  Clashers  figure  are  reproduced  in  the 
case  of  Zagreus,  who  is  the  son  of  Zeus  and  Korah. 

387.  There  is  this  essential  difference  between  the  Pyrrhic  and 


Fig.  572. 


GODS    WHO    DANCE  253 

the  dance  of  the  Clashers, — the  Pyrrhic  is  a  mimetic  dance,  an  imita- 
tion of  a  battle,  with  varied  movements ;  the  dance  of  the  Clashers  is 
not  a  pretense,  it  is  a  noisy  clash  of  brazen  shields ;  it  is  a  dance 
in  the  modern  acceptance  of  the  word ;  it  is  reduced  to  a  gesticula- 
tion at  once  boisterous  and  mechanical. 

The  passage  from  the  one  form  to  the  other  is  simple;  the  Hel- 
lenistic artists,  in  search  of  new  motifs,  purposely  confused  the  two. 
There  are  represented  Pyrrhics  for  two,  executed  by  two  Clashers 
who  can  be  recognized  by  their  helmets,  swords  and  shields  (360). 

388.  Dionysos,  and  the  Dionysian  Dances Among  the  gods  who 

dance  and  in  whose  honor  dances  are  given,  Dionysos  holds  a  place 
in  the  first  rank.  In  his  character  of  the  god  of  wine,  with  which, 
in  a  happy  moment,  legend  endowed  him,  he  becomes  the  incarna- 
tion of  joyous  folly;  he  does  not  walk,  he  dances:  flutes  and  dulci-- 
mers  accompany  him  in  his  processions ;  there  is  much  noisy  music 
in  his  honor.  If  his  life  be  not  a  perpetual  fete,  his  one  care  is  to 
banish  care, — to  fill  his  days  with  joy.  He  loves  the  mountains, 
the  forests,  the  rivers ;  his  temple  is  nature ;  these  places  are  peopled 
with  gods,  men,  or  beasts,  who  love  the  joys  of  life,  and  who  raise 
the  celebration  of  his  orgies  to  the  dignity  of  a  cult.  Silenes  and 
Satyrs,  bearded,  with  bare  heads  and  hairy  bodies,  are  the  guests 
of  the  forests.  Pans,  with  their  cloven  hoofs,  take  their  pleasure 
at  the  summits  of  the  rocky  places ;  Centaurs  roam  on  the  moun- 
tains ;  Nymphs,  at  the  mouths  of  the  rivers,  give  food  to  the  young 
god ;  Naiades  and  Menades  of  all  ranks  form  around  Dionysos  a 
court  of  folly,  in  the  etiquette  of  which  dancing  holds  a  unique 
place. 

Though  the  aspect  of  these  companions  of  Dionysos  underwent 
important  changes  as  time  passed,  they  are  always  recognizable. 

389.  The  Silenes  and  the  Satyrs  are  not  of  the  same  mythological 
origin;  though  so  nearly  alike  in  form  that  they  may  be  mistaken 
one  for  the  other.  The  primitive  Silenus  is  of  brutal  aspect;  he  is 
made  more  hideous  by  his  dress  of  the  head  and  skin  of  some  animal 
(Figs.  523,  415,  578).  He  may  have  the  feet  and  tail  of  a  horse 
(Fig.  386).  In  this  form  he  is  seen  on  many  of  the  black-figured 
vases.   In  the  fifth  century  B.  C,  the  face  of  the  Silenus  becomes  less 


254  THE    DANCERS 

simian,  though  he  still  possesses  his  bestial  characteristics  (Fig. 
164).  Little  by  little  this  fantastic  being  loses  his  grosser  symbols; 
his  face  becomes  human,  his  feet  cease  to  be  hoofs,  his  tail  is  short- 
ened. The  fourth  century  B.  C.  brings  in  a  type  of  a  young  Silenus, 
with  waving  hair  and  laughing  mouth ;  he  is  the  Satyr  who  became 
the  Roman  faun  (Fig.  180).  The  Hellenistic  period  did  not  renounce 
the  old-man  type  of  Silenus,  though  he  did  not  re- 
main a  beast,  he  was  still  drunken.  Gross  of  body, 
hairy,  bald-headed,  crowned  with  ivy  (Fig.  573),  the 
artists  of  all  periods  represented  him  as  an  old  man 
but  not  always  a  grotesque.  He  joyously  carries 
the  infant  Dionysos  in  his  arms,  his  face  expressing 
paternal  tenderness  (E.  Pottier).  Thus  there  are 
two  distinct  types,  which  are  easily  distinguishable. 
390.  Pan  is  the  pastoral  deity.  He  lives  on  the 
summits  of  the  Arcadian  hills  and  is  the  genius  of 
the  mountains.  His  legends  have  nothing  in  com- 
Pig  573  mon  with  those  of  Dionysos  except  that  they  are 

both  rustic  in  nature. 
When  he  enters  the  Dionysian  procession,  it  is  robbed  of  its  ugli- 
ness. He  remains  goat-like,  horned  and  hoofed  (Fig.  501).  Often 
he  appears  thus  in  the  masques.  He  is  never  without  the  syrinx,  the 
flute  of  the  mountain  shepherds,  the  art  of  playing  which  he  learned 
on  Mount  Olympus. 

391.  The  Menades  are  the  followers  of  Dionysos.  They  are  hard 
to  classify,  being  neither  gods  nor  human  beings.  They  take  part 
in  the  sports  of  the  Silenes  and  Satyrs,  though  their  gallant  enter- 
prises are  less  startling.  They  are  crowned  with  leaves,  twining  the 
ivy  or  chains  of  smilax  in  their  scanty  hair:  fawn  or  leopard  skins 
are  carelessly  draped  about  their  shoulders  or  carried  over  their 
arms.  Nearly  always  they  carry  serpents  in  their  hands,  like  living 
wreaths.  Often  they  brandish  the  thyrsus  or  the  torch ;  the  torch 
is  the  symbol  and  the  accessory  of  the  nocturnal  orgies  dear  to  the 
god.  The  thyrsus  is  a  staif  or  rod,  terminating  in  a  ball  of  pine  or 
a  bunch  of  ivy  leaves.     Often  streamers  were  tied  to  the  shaft. 

392.  The  Menades  are,  of  course,  fabulous.  At  fetes  celebrated 
by  the  Hellenic  populace  in  honor  of  Dionysos  they  are  represented 


GODS    WHO    DANCE  255 

according  to  ritualistic  tradition  by  women  who  are  usually  called 
Bacchants,  but  each  region  has  a  different  name  for  them. 

The  Thyades  were  a  company  composed  of  women  of  Athens  and 
Delphos ;  they  roamed  through  the  gorges  of  Parnassus  during  the 
winter  nights,  screaming  as  they  went.  The  Mimallonides  of  Mace- 
donia, the  Bassarides  and  the  Edonides  of  Thrace  were  noted  for  the 
violence  of  their  Bacchic  fury. 

The  painters  and  sculptors  made  use  of  the  models  before  their 
eyes,  so  that  the  Menades  of  fable  are  represented  by  real  persons. 
While  the  Menades  are  always  with  the  Satyrs,  the  Bacchants  did 
not  admit  any  masculine  dancers  among  them;  the  celebration  of 
the  orgiastic  fetes  was  confined  to  women. 

The  artists,  taking  for  models  the  living  women  who  danced,  also 
painted  the  scenes  of  the  dances,  always  violent,  often  obscene, 
which  were  part  of  the  satyric  drama. 

393.  Satyrs  and  Menades,  both  of  whom  modern  custom  calls 
Bacchants,  carry  the  same  insignia.  The  thyrsus  and  the  torch  have 
been  mentioned  (391)  ;  the  vase  is  to  Dionysos  what  the  shield  is  to 
Mars,  and  by  this  word  Aristotle  explains  the  presence  in  his  hand 
and  the  hands  of  his  worshipers  of  utensils  which  might  contain  the 
divine  beverage.  The  canthare,  a  jug  with  a  long  handle;  the  keras, 
a  drinking-horn ;  the  ryton,  a  small  vase  of  characteristic  form  from 
which  one  drank  by  throwing  back  the  head  and  pouring  the  liquid 
down  the  throat ;  and  amphorag  of  various  shapes.  Sometimes  the 
Satyrs  play  together  a  game  with  a  large  bowl  which  stands  on  the 
ground.  The  companions  of  Komos  (415),  imitating  this  as  they 
did  other  customs,  dance  around  the  jars  containing  wine. 

All  of  the  musical  instruments,  except  the  lyre,  which  belongs 
to  Apollo,  are  seen  in  the  hands  of  the  Bacchants :  castanets,  cym- 
bals, tambourines,  the  double  flute,  the  lateral  flute  (rare),  syrinw, 
or  flute  of  Pan,  much  like  the  flute  played  by  the  goat-herds,  and 
bells  attached  to  the  clothing  of  the  Bacchants, — compose  an  or- 
chestra quite  noisy  enough.  When  to  this  were  added  the  cries  of 
furious  play,  the  clapping  of  hands  and  stamping  of  feet  of  the 
dancers,  one  can  imagine  how  strange  a  concert  announced  to  the 
ears  of  the  populace  the  coming  of  the  Bacchants. 

394.  Among  other  accessories,  comic  masks  were  suspended  from 


256  THE    DANCERS 

the  trees;  baskets  (round,  covered  ones)  from  which  the  mystic 
serpents  escaped ;  the  litter,  cradle  of  the  infant  Dionysos,  and  sym- 
bol of  purification,  always  filled  with  fruit ;  paniers  of  all  kinds,  con- 
taining the  offerings  used  in  the  Dionysian  ceremonies.  The  ser- 
pents often  had  a  part  in  the  fete.  Plutarch  is  authority  for  the 
statement  that  Olympia,  mother  of  Alexander,  was  one  of  the  most 
zealous  of  the  Mimallonides,  and  most  barbarous  in  the  expression  of 
bacchic  frenzy,  appearing  in  the  thiases  and  training  the  great  ser- 
pents, which  slid  out  of  the  mystic  vases  and  among  the  ivy,  rolling 
through  the  procession,  to  the  fright  of  the  people. 

The  presence  of  the  panther  among  the  Dionysians,  the  Satyrs  and 
the  Menades  is  symbolic ;  the  panther  was  dear  to  Dionysos,  because 
he  is  the  most  ardent  of  all  animals. 

395.  The  word  Bacchanales,  which  serves  to  distinguish  the 
Dionysian  scenes,  is  Roman,  and  usage  gives  it  a  certain  value.  It  is 
impossible  to  establish  any  classification  of  the  dances  of  the  Bac- 
chants, which  the  paintings  present  in  endless  variety.  The  absence 
of  symmetry, — the  systematic  disorder,  were  the  rule. 

The  modern  method  of  rules  for  the  dance  is  essentially  different. 
It  insists  upon  a  rigorous  simultaneity  of  identical  movements,  exe- 
cuted by  all  of  the  dancers,  and  the  symmetrical  disposition  of  the 
groups  of  dancers.  The  Greeks,  on  the  contrary,  evidently  cared 
little  for  the  simultaneity  and  repetition  of  Ensemble  movements. 
The  arts  purely  Greek  were,  during  the  classic  age,  opposed  to  the 
juxtaposition  of  like  forms.  When  symmetry  was  imposed  by  con- 
ditions, the  artists  bent  all  their  efforts  toward  minimizing  it. 

It  is  possible  the  dance  en  masse,  especially  the  dance  of  the 
Bacchants,  was  inspired  by  the  same  principle  as  the  arts  of  design. 
The  painters  not  only  conformed  to  the  laws  of  their  own  art,  but 
to  the  art  of  the  dance.  The  apparent  disorder  is  really  conformity 
to  rule.  That  very  thing,  to  us,  spells  ruin ;  we  cannot  understand 
concerted  movement  without  perceptible  symmetry.  The  very  thing 
that,  to  our  ears,  loses  all  sense  of  melodic  nuances  and  rhythmic 
combinations,  the  Greeks  found  full  of  charm.  Where  our  eyes  see 
but  confusion  of  movement,  theirs  found  an  Ensemble  ruled  by  per- 
fect order.  They  had  eyes  and  ears  keener  than  ours,  therefore 
they  could  see  unity  where  we  get  only  an  impression  of  complexity. 


GODS    WHO    DANCE  257 

396.  The  absence  of  symmetry  from  the  Bacchanales  does  not 
preclude  groupings.  They  are  found  throughout  the  entire  list,  like 
part  dances,  composed  of  two,  three,  or  a  greater  number.  Some- 
times the  whole  band  is  separated  into  groups  which  reform  to  in- 
clude all  the  dancers.  But  in  this  case,  the  movements  are  executed 
differently  by  the  different  groups. 

The  Bacchanales  also  present  the  simple  forms  of  procession 
dances,  with  the  dancers  all  going  in  the  same  direction.  The  danc- 
ers who  are  associated  advance  with  the  same  step,  which,  indeed, 
only  adds  to  the  irregularity  which  marks  the  progress. 

397.  The  mimetic  dances,  the  dramatic  scenes,  have  a  prominent 
place  in  the  Bacchanales, — Satyrs  pursue  Menades,  Bacchants, 
drunk  and  frenzied,  shaking  with  orgiastic  fury, — a  melee  of 
dancers  who  manage  to  keep  to  the  rhythm.  It  is  a  ritual  of  order 
in  seeming  disorder. 

398.  Representations  of  the  god  himself  and  of  the  Bacchants 
figure  in  vast  numbers  in  dance  and  legend,  which  tells  of  many 
places  where  Satyrs  and  Menades  mingle  together. 

Hermes  precedes  the  corteges  of  Nymphs,  or  presides  with  Dio- 
nysos  at  the  gambols  of  the  Bacchants.  He  may  also  be  seen,  seated 
on  a  rock,  accompanying  the  dance  of  the  Satyrs  with  the  lyre  of 
Apollo  in  his  hands.  It  must  be  explained  how  it  happens  that  the 
instrument  of  Apollo  is  used  as  the  music  for  a  dance  of  Satyrs. 
The  god  of  Delphos  does  not  refuse  to  make  merry  with  the  Dio- 
nysians.  A  few  vases  show  Menades  shaking  the  castanets  as  they 
dance  around  Apollo. 

The  chaste  Athena  herself  did  not  fear  being  led  into  joyous 
company;  she  is  seen  among  the  Bacchants,  beside  Apollo  and 
Dionysos. 

Dionysos  on  Olympus  is  the  god  of  fire,  Hephaistos  having  been 
exiled  by  Zeus.  The  banished  one  may  not  be  reinstated  in  grace, 
and  Hera  is  left  wearily  waiting  on  the  golden  throne,  while  he 
forges  the  invisible  bonds.  Dionysos  has  recourse  to  a  ruse.  He 
makes  the  lame  god  drunk,  and  gives  him  into  the  hands  of  the 
Satyrs,  and  he  is  held  prisoner  at  the  doors  of  Olympus.  This 
singular  ceremony  is  one  of  the  favorite  subjects  of  the  painters. 

Nowhere  are  the  worshipers  of  Dionysos  shown  in  a  more  won- 


258  THE    DANCERS 

derful  way  than  where  associated  with  this  legendo  In  the  mar- 
riage of  Ariadne  or  the  mysteries  of  Korah,  the  Satyrs  and  Menades 
have  the  same  office,  and  their  tireless  dance  forever  frames  the  loves 
of  their  master.  There  are  so  many  mythic  scenes  in  which  they 
have  part.  They  are  the  guard  of  honor  when  the  god  goes  abroad, 
and  they  carry  arms  in  combat.  Together  with  Dionysos  they  fight 
with  the  Tyrrhenian  pirates  and  against  the  Amazons :  they  faith- 
fully follow  in  the  triumphal  marches  of  India :  they  throw  away  the 
thyrsus  and,  arming  themselves,  lead  murderous  charges. 

399.  In  the  Hellenistic  period,  when  the  religion  changed,  be- 
coming more  sensual,  losing  the  stern  character  of  the  sixth  cen- 
tury B.  C,  all  of  the  gods  enrolled  under  the  banner  of  Dionysos. 
They  adopted  the  bacchic  insignia,  they  wore  the  crown  of  the 
Bacchants ;  the  movements  of  the  dances  became  more  exaggerated 
until  they  reached  a  point  that  can  be  explained  only  by  patholo- 
gists. The  backward  bending  of  the  body,  the  bizarre  contortions, 
the  mad  whirling,  became  more  and  more  habitual  with  the  dancers. 


DANCES  IN  HONOR  OF  THE  GODS 

400.  Originally  all  of  these  dances  were  in  honor  of  the  gods,  a 
religious  practice  of  worship  by  means  of  rhythmic  movements. 

Strabo  speaks  of  the  sacrifices  accompanied  by  frenzy  thus: 
"Frenzy  is  a  kind  of  celestial  inspiration."  It  is  a  saintly  fury, 
manifested  by  visible  signs. 

Its  ritual  included  the  orgiastic  dances.  It  is  not  confined  to  the 
worship  of  Dionysos ;  the  cult  of  Rhea,  and  the  mysteries  of  Orpheus 
evoked  a  dance  that  was  strangely  violent,  which  transformed  its 
adepts  into  frantic  maniacs.  It  is  possible  that  the  cult  of  Apollo 
had  its  place  in  the  orgiastic  dances:  the  frenzy,  according  to 
Strabo,  extended  to  prophecy,  as  is  proved  by  the  contortions  of 
the  Pythonesses.  There  is  a  likeness  between  their  ecstatic  poses  and 
the  movements  of  a  great  number  of  the  dancers  who  figure  in  the 
paintings  and  reliefs. 

401.  The  dance  of  the  Clashers  (386)  is  derived  from  the  ritual- 
istic dance  belonging  to  the  cult  of  Rhea.     It  is  reasonable  to  sup- 


DANCES    IN    HONOR    OF    THE    GODS 


Fig.  574. 


pose  that  the  adorers  of  the  Great  Mother  of  the  gods  executed  the 

whirling  Steps  which-  are  related  to  those  used  by  the  protectors  of 

the  infant  Zeus.    The  priests  of  Rhea 

were   mad,   they   stamped   their   feet 

and  uttered  inarticulate  sounds,  while 

making  crazy  motions  as  to  which  the 

texts  are  rather  obscure,  but  which 

appear  to  have  been  something  like 

those  of  the  whirling  dervishes. 

402.  The  practices  of  the  Omo- 
phagie,  where  blood  was  spilled,  and 
to  which  some  monuments  are  conse- 
crated, cannot  be  regarded  as  alto- 
gether fictitious.  Without  doubt  the 
menade  who  holds  a  human  foot  in 
her  hand,  and,  with  backward  bent 
head,  executes  an  orgiastic  dance,  is 

to  be  accepted  as  purely  symbolic.     This  recalls  the  legend  of  Dio- 
nysos  Zagreus  and  the  Titans.    But  this  "cult  of  raw  flesh" — reduced 

to  the  laceration  of  the  body,  was  prac- 
ticed in  the  nocturnal  ceremonies  in 
honor  of  Zagreus.  The  initiates  par- 
took of  the  raw  flesh  of  a  bull, 
ceremony  is  not  to  be  described. 

Fig.  578  is  taken  from  a  vase 
red  figures  of  the  fifth  century  B.  C. 
and  shows  a  Dionysian  hacking  a  head 
to  pieces  and  throwing  the  debris  about. 
The  Menade  of  Scopas  (Fig.  575) 
shows  that  the  sole  idea  of  the  dances 
was  to  use  movements  so  violent  that 
they  lost  all  eurhythmy. 

403.  Persons  of  all  ranks,  ages,  and 

sexes  participated  in  the  phallic  dances^ 

— citizens  of  the  capital  and  inhabitants 

of  the  villages :  these  dances  "Jvere  of  a  nature  not  to  be  described.     It 

is  enough  to  say  that  the  grossness  of  the  urban  Phallus  worshipers 


The 


with 


Fig.  575. 


260 


THE    DANCERS 


was  copied  by  the  rural  population.  In  that  period  the  thiase  of 
Bacchic  legend  became  a  reality,  and  the  obscene  gambols  pictured 
on  the  vases  were  copied  from  life. 

404.  The  Dionysian  dance  is  one  of  the  forms  of  the  Bacchic  cult 
and,  on  the  whole,  may  be  considered  as  a  part  of  the  ritual  of 


fig.  576. 

frenzy  of  the  Bacchants.  It  is  not  rare  to  find  the  sacrifice  arranged 
in  their  midst;  the  religious  character  is  evident.  Figs.  273,  352, 
438,  439,  576,  577  and  578,  taken  from  paintings  on  vases,  show 

the  altar  beside  which  are  the 
Bacchants.  The  only  difference 
between  these  scenes  and  the  Bac- 
chanales  is  the  presence  of  the 
altar. 

405.  What  were  the  move- 
ments peculiar  to  the  Bacchic 
dances,  and  used  by  all  of  the 
dancers  who  took  part  in  the  or- 
giastic ceremonies?  The  dis- 
tinguishing mark  is  not  the  essen- 
tial form  of  the  dance,  but  the 
exaggeration  of  the  movements. 
^'^"  ^^^'  The  dancers   who  worked  them- 

selves into  frenzy  in  honor  of  Dionysos,  of  Rhea,  or  Atys,  present, 
fundamentally,  the  same  movements  and  gestures  common  to  all 
Greek  dances,  though,  in  their  liturgical  delirium,  they  amplified  all 


DANCES    IN    HONOR    OF    THE    GODS 


261 


of  these  motions  until  the  original  characteristics  were  lost  in  the 
heaped-up  exaggerations,  which,  at  last,  became  grotesque  (Fig. 
579),  losing  all  likeness  to  nature. 

Thcj  were  distinguished  by  the 
backward  bend  of  the  Head  and 
Torso  (156,  163),  by  bending  the 
head  and  Torso  forward  (162, 
155),  four  Positions  so  easy  to 
exaggerate  (Figs.  Ill,  118,  132, 
171,  180,  189,  193,  352,  369,  411, 
413,  420,  438,  439,  455,  494,  B, 
505,  575,  577,  579,  etc.).  In 
sharp  contrast  are  the  types  of 
religious  orgiastic  dances  from  which 
the  frenzy  was  excluded. 

406.  To  the  second  category  be- 
longs the  symbolic  dance  by  three 
women  who  may  or  may  not  be 
preceded  by  a  leader:  the  decency 
and  gravity  of  these  dances  is  tradi- 
tional :  all  contortions  are  excluded. 

The  funeral  dances  in  the  later 
form,  decreed  by  Solon,  were  re- 
duced to  a  mimetic  form  which 
was  nobly  expressive,  founded  as 
they  were  partly  on  the  religious 
dance,  and  notable  for  their  dig- 
nity of  pose  and  gesture,  which 
was  governed   by  strict  rules. 

The  same  kind  of  dance  is  seen 
in  the  pose  of  the  majestic  priestess 
who  faces  a  crouching  figure  (Fig. 
580).  It  should  be  explained  that 
the  scene,  so  far  as  it  concerns  the 
woman's  gesture,  is  a  religious  rite; 
the  right  elbow  rests  on  the  left  hand,  as  though  the  arm  had  been 
raised  a  long  time.  ^ 


262 


THE    DANCERS 


In  the  interior  of  the  sanctuary  there  was  an  altar  against  the 
wall  from  which  the  fillets  were  suspended.  This  altar  was  in  the 
form  of  an  Ionic  capital,  and  the  sacred  fire  burned  on  it  (Fig.  581). 
With  arms  hidden  in  her  cloak,  a  woman 
executes  a  lively  dance  to  the  music  of  a 
double  flute.  The  painter  naively  represents 
the  dance  as  more  like  a  run,  there  being  no 
indication  of  a  true  dance-Step.  Incapable  of 
depicting  the  details  of  the  Step,  the  artist 
confined  his  attention  to  the  ritualistic  side 
of  the  subject.  The  dancer,  chastely  draped, 
head  and  torso  turned  to  the  side,  moves 
without  exaggeration,  dancing  in  honor  of 
the  deity.  Certainly  there  is  no  frenzy  here. 
The  whole  movement,  while  it  possesses  a  sort 
of  dignity,  verges  upon  the  grotesque. 

407^  The  dancers  represented  by  Figs.  582 
to  593  are  the  hierodules,  or  daughters  of 
Zeus,  consecrated  to  the  service  of  a  god  whose  identity  is  unknown. 
The  presence  of  certain  remarkable  accessories  and  details  of  costume 
leaves  no  doubt  as  to  the  nature  of  their  functions. 

All  wear  on  their  heads  the  kalathos,  a  kind  of 
diadem,  large  at  the  top,  and  in  shape  much  like 
a  basket  of  which  the  head  fornts  the  bottom. 
Sometimes  it  is  like  a  large  fillet,  sometimes  it  is 
a  trellis  of  rush-work,  or  of  willow  or  palm  leaves. 
The  terra-cotta  figurines*  often  wear  a  heavy- 
striped  kalathos  (Figs.  586  and  587).  The  bas- 
reliefs  transform  this  into  a  crown  of  twigs  and 
leaves  (Fig.  589  and  following). 

The  tunics  of  the  hierodules  are  very  short,  leav- 
ing the  upper  leg  bare.  Sometimes  the  breasts  are 
uncovered,  the  scanty  drapery  falling  only  from 
the  hips. 

All  of  these  dancers  are  posed  on  the  half-toe, 
or  the  toe  (102,  215,  216),  this  being  prescribed  by  rule. 


Fig.  5B0. 


DANCES    IN    HONOR    OF    THE    GODS 


263 


One  may  judge  from  the  following  enumeration  of  the  varieties 
of  movement  and  gesture  executed  by  the  hierodtdes. 
Figs.  582  and  583.     Whirling  Steps. 


Fig.  631. 


Fig.  584.     Gesture  of  the  Pourer  (52)  which  is  here  adapted  to 
the  dance. 

Fig.  585.     Whirling  Step,  gesture  like  the  preceding. 

Fig.  586.  IV  crossed  on  the 
half-toe  (108),  gesture  of  the 
Pourer  (52)  made  with  the  cas- 
tanets. 

Fig.  587.  IV  outward,  on  the 
half-toe  (95)  ;  the  dancer  shakes 
the  castanets. 

Fig.  588.  Small  running  Steps 
on  the  toes  (242),  double  gesture 
with  the  tunic  (44). 

Fig.  589.  IV  crossed  (109); 
tiie  dancer  turns  by  stamping 
(  267  )  ;  gesture  of  Adoration  (  40  ) . 

Fig.  590.     I  on  the  half-toe  (106)  turning,  gesture  identical  with 
Fig.  584. 

Fig.  591.     IV  on   the  half-toe   (108);   gesture   of  supplication. 
Between  the  two  hierodules  is  a  statue  of  Athena. 


Fig.  582. 


Fig.  583. 


264 


THE    DANCERS 


Fig.  592.     IV  on  the  half-toe:  plays  with  the  mantle,  with  the 
right  hand.     Makes  an  offering  to  a  divinity. 

Fig.  593.  IV  on 
the  half-toe;  gesture 
of  Adoration  (40). 
At  one  side  of  the 
hierodule  there  is  a 
rustic  altar  on  which 
burns  the  sacred  fire. 
These  examples 
are,  of  course,  not  all 
taken  from  one  dance, 
but  from  a  group  of 
dances  of  the  same 
type,  which  is  to  say 
that  they  celebrate 
,  the  same  rite.  The 
hierodules    have    one 


Fig.  584. 


Fig.  585. 


particular  dance,  varied,  but  of  which  the  important  element  is  the 


Fig.  586. 


Fig.  58T. 


Fig.  588. 


mimetic.     They  abstain  from  exaggeration  in  their  poses  and  move- 
ments.   They  let  their  heads  incline,  and  their  torsos  always  turn  to 


DANCES    IN    HONOR    Or    THE    GODS 


^65 


the  right.     Their  knees  do  not  bend ;  there  is  no  leap ;  they  seem  to 
shde  on  the  ground,  h'ghtlj,  and  with  short  steps. 

From  all  this  we  do  not  get  the  Tempo  (207).     They  execute  the 
Step  of  running  on  the  toes    (242),  during  which  the  arms  join 


Fig.  589. 


Fig.  590. 


above  the  head  in  a  special  form  of  the  dance  of  the  joined  hands 
(319,  322).  In  the  numerous  forms  of  the  character-dances,  the 
movements  are  varied  and  many  in  number.  The  hierodule  does  not 
always  conform  to  the  customs  of  the  dance,  but  the  divergence  is 
slight,  and  there  is  none 
of  the  unnatural  move- 
ment that  characterizes 
the  other  dances  with 
joined  hands. 

The  series  of  dancers 
who  wear  the  kalothos  is 
an  ensemble  most  valu- 
able in  the  study  of  the 
homogeneity  of  the 
dance ;  the  absence  of  the  gymnastic  forms  dear  to  the  Bacchants  and 
their  like  prove  that  the  dance  of  the  hierodtdes  is  the  expression  of  a 
cult  without  frenzy. 

408.  Religious  Processions. — There  are  a  great  number  of  pro- 


Fig.  591. 


me 


THE    DANCERS 


cessions  with  which  the  dance  is  connected  by  the  music;  in  the 
solemn  processions  the  attributes  of  the  god  were  carried ;  the  hymns 
were  sung  as  an  accompaniment  to  the  march,  the  metrical  form  of 


%...^iL\. 


^/-^\ 


Eig.  592. 


r'ig.  593. 


them  being  ruled  by  tradition.     Whatever  the  rhythm  of  the  pro- 
cessional may  be,  the  aspect  of  the  dancers  is  the  same. 

The  painters  could  not  resist  the  temptation  to  systematize  the 


Fig.  594. 


Fig.  595. 


representations  of  the  processions:  they  followed  one  of  two  forms 
for  every  occasion,  in  order  not  to  destroy  the  decorative  effect. 
The  only  exceptions  are  the  Dionysian  processions,  where  the  rule 


DANCES    IN    HONOR    OF    THE    GODS 


267 


is  disorder,  and  which  were  composed  of  persons  dancing,  each  to 

suit  his  own  fancy.     But  in  all  other 

ceremonies    the    dance    is    a    simple 

rhythmic    movement,    which,    in    the 

sculptures,  is  always  presented  in  the 

same  way. 

Sometimes  the  persons  advance  In 
files,  one-and-one ;  sometimes,  but 
more  rarely,  they  march  two-and- 
two.  The  boldness  of  the  artists 
never  went  beyond  this. 

409.  Fig.  594  is  taken  from  the 
temple  of  the  Harpies  (14)  :  it  is  an 
abridged  cortege,  three  young  women 
in  file.  Their  walk  is  slow  and  their 
steps  short ;  their  bodies  are  too  stiff 
to  be  graceful ;  they  do  not  make  the 
same  gestures.  This  remark  applies 
also  to  the  cortege  of  nymphs  (Fig. 
595)  from  a  bas-relief  of  Thasos 
(14).  In  these  two  examples  it  is  easy 
to  see,  as  in  the  case  of  the  Parthe- 
non frieze,  a  convention  peculiar  to 
the  bas-relief  (29),  which  consists  in 
making  the  walker  whose  weight  is  on 
the  right  foot  turn  to  the  left  and 
vice  versa. 

410.  The  Parthenon  Frieze. — In 
applying  the  same  formula  to  the 
people  on  this  frieze,  Phidias  escaped 
from  the  monotony  which  results 
from  the  uniformly  forward  move- 
ment. He  broke  up  the  symmetry ;  the 
persons  who  walk  with  the  same  step 
are  unequally  distant  from  each  other ; 
they  are  presented  at  different  angles : 


some  turn  the  head  to  the  side,  others  look  backward  (Fig.  596), 


268 


THE    DANCERS 


All  of  those  who  carry  phials  hold  the  vase  in  the  right  hand, 
which  is  the  direction  in  which  they  march.  By  a  convention,  the 
choice  of  the  arm  which  supports  the  vase  is  determined  by  the  direc- 
tion in  which  the  step  is  made. 

The  women  whose  hands  are  empty  lightly  lift  the  arms  at  the 
elbow,  without  any  stiffness,  the  fingers  being  well  grouped. 

The  groups  of  two  persons  are  irregular,  and  are  introduced  to 
give  variety. 

Men  and  women  file  past  slowly,  without  lifting  the  heels.  Their 
walk  is  a  compromise  between  movement  and  immobility. 

The  Parthenon  frieze 
is  not  to  be  accepted  as 
a  literal  copy  of  one  of 
the  panathenian  proces- 
sions ;  Phidias,  in  plan- 
ning it  as  a  decoration, 
took  considerable  lib- 
erty in  disposing  the 
motifs.  Even  the  gods 
who  appear  amid  the 
groups  of  mortals  are 
It  is  a  scene  of  sacri- 


^^ 


'W 


Fig.  596  bis. 

made  to  conform  to  the  scheme  of  decoration, 
fice ;  the  portresses  carry  the  sacred  baskets,  etc.  The  men,  armed, 
dance  the  Pyrrhic,  this  dance  having  a  prominent  place.  The  Athen- 
ian cavalry  is  also  important.  They  executed,  in  these  processions, 
a  sort  of  hippie  dance,  which  does  not  appear  on  the  frieze.  It  is 
surprising  to  find  traces  of  ranks  among  the  cavaliers,  which  are  to 
be  interpreted  as  conventions  of  perspective.  The  chariots  follow 
the  cavalry. 

There  is  no  doubt  that  all  this  is  ordered  according  to  the  sculp- 
tor's fancy.  For  the  same  reason  he  has  not  brought  different 
subjects  into  juxtaposition,  and  has  not  abridged  the  unique  cere- 
mony. Nor  has  he  clung  to  facts:  he  makes  the  gods  descend  to 
earth  among  their  worshipers.     These  liberties  presuppose  others. 

411.  Religious  Processions  on  the  Painted  Vases. — The  form  of 
the  procession  cannot  be  definitely  learned  from  the  painted  vases 
because  of  the  faults  of  perspective.     Only  in  the  sixth  century 


DANCES    IN    HONOR    OF    THE    GODS 


569 


B.  C.  did  the  painters  break  away  from  the  conventions  and  permit 
their  figures  to  walk  in  couples  (Fig.  597).  It  is  an  artifice,  and  a 
first  attempt  at  perspective,  but  it  is  not  to  be  confused  with  the 
rules  for  true  perspective ;  this  was  long  before  the  sculptors  of  the 
bas-reliefs  ventured  on  any  such  innovation. 

412.  The  greater  part  of  the  decorative  convention  concerns  it- 
self with  the  representations  of  processions,  which  accounts  for  the 
monotony  of  the  poses  and  the  gestures,  one  figure  being  a  copy  of 


Fig.  59T. 

the  others.  The  opposition, — the  contrasts, — even  the  disorder, 
which  exist  in  the  Bacchic  processions,  composed  of  true  Greek 
dancers,  show  their  dislike  of  synchronism  of  movement  by  a  great 
number  of  persons  (395,  396).  But  the  grand  ceremonials  in 
honor  of  the  high  gods,  made  up  of  cadenced  marches,  embellished 
with  a  gesticulation  both  dramatic  and  dignified,  were  instinct  with 
eurhythmy.  They  followed  the  rule  of  contrast  and  did  not  tire 
the  spectator  with  their  monotony. 

It  may  be  said  that,  in  a  simple  procession,  the  marchers  timed 
their  steps  to  a  song,  the  forward  movement  being  uniform.  This 
rule  of  the  same  step  is  not  a  decorative  simplification,  designed  by 
the  painters  and  sculptors ;  it  was  a  rule  used  by  the  Greeks  for  the 
same  reason  that  it  is  used  by  moderns. 


270  THE    DANCERS 


PRIVATE  OR  SOCIAL  DANCES 

413.  The  private  dances  were  at  all  times  held  in  high  esteem  by 
the  Greeks.  From  the  Iliad  of  Homer  to  the  Banquet  of  the  Sages, 
— from  the  vases  of  the  seventh  century  B.  C.  to  the  latest  products 
of  ceramic  art,  proof  of  this  may  be  found. 

As  they  were  not  executed  by  professionals,  the  dances  varied. 
The  ability  to  dance  was  encouraged ;  even  Socrates  practiced  the 
art  to  keep  his  body  in  condition. 

The  artists  copied  the  movements  of  the  dancers  from  life ;  in 
the  case  of  Nike,  Eros,  etc.,  living  dancers  at  least  served  as  the 
inspiration. 

Not  all  of  the  representations  were  of  a  public  character;  the 
J  citizens  in  their  own  homes  were  taught  to  take  part  in  the  dance, 
and  derived  much  pleasure  from  it. 

The  professional  dancers,  like  the  musicians,  were  recruited  from 
the  ranks  of  slaves.  The  dancers  who  entertained  the  guests  at  din- 
ner parties  were  not  of  the  courtesan  class. 

414.  Often  the  men  are  represented  as  nude;  this  is  an  artistic 
convention,  used  because  it  was  not  easy,  otherwise,  to  mark  certain 
figures  as  Satyrs:  the  definite  sign  is  the  tail.  On  the  vases  with 
red  figures,  they  are  generally  young,  beardless  men  (fifth,  fourth, 
third  centuries  B.  C).  The  black  figured  vases  often  show  them 
bearded. 

The  citizen  dancers  are  always  represented  as  purely  human, 
never  as  animals  (Plate  I,  Figs.  128,  131,  132,  136,  158,  159,  178, 
189,  230,  277,  278,  407,  408,  409,  410,  453,  461,  466,  467,  496, 
515,  516,  517,  518,  524,  562).  The  figures  496  and  499,  of  which 
the  nudity  is  a  convention,  are  to  be  considered  private  dancers,  or, 
as  we  would  say,  social  dancers. 

There  is  less  certainty  about  Figs.  448,  449,  450,  451,  452,  457. 
One  may  well  doubt  if  they  were  professional  dancers ;  the  modest 
costume,  the  moderation  of  their  movements,  the  style  of  their 
work,  all  indicate  that  they  belong  to  a  high  class.  Similar  examples 
are  not  wanting.  It  is  likely  that  women  of  free  birth  often  figure 
among  the  dancers  on  the  vases,  but,  with  the  exception  of  the 


PRIVATE    OR    SOCIAL    DANCES 


271 


Fig,  59S. 


liierodules  and  the  young  women  who  take  part  in  the  religious  pro- 
cessions, it  is  not  always  easy  to  decide  as  to  their  social  status. 

415.  The  Komos  Dances. — The  private  dances  executed  by  men 
alone  were,  according  to  all  tradition,  Komos  dances. 

The  Greeks  drank  little  wine  with  their  meals ;  it  was  after  meals 
that  the  wine  appeared.  At  the 
close  of  the  repast  the  dancers  and 
musicians  came  in,  and  the  slaves 
again  filled  the  cups.  With  the 
Komos,  there  was  feasting,  joyous 
drinking,  which  the  courtesans, 
players  of  the  flute,  dancers,  ac- 
tors, and  buff'oons  little  by  little 
changed  from  a  concert  to  an 
orgy. 

During     the     seventh     century 
B.  C.  the  representations  of  Komos 

figures  was  much  affected  by  the  painters  of  vases,  and  the  fashion 
spread  over  the  whole  Hellenic  world.  Originally  these  dances  were 
a  part  of  the  Dionysian  rites  and  are  always  to  be  found  connected 
with  the  Bacchic  cult.     The  companions  of  Komos,  the  Komastai  are 

sometimes  regarded  as  substitutes  for 
the  Satyrs  in  real  life.  The  likeness  be- 
tween the  two  is  indicated  by  the  name 
"Komos"  which  is  always  given  to  the 
Satyrs  of  the  bacchic  thiase. 

In  the  ancient  figures  of  Komos 
dancers,  the  whipping  legs  seem  always 
to  be  on  the  point  of  losing  their  equili- 
brium ;  in  the  case  of  the  large  vases,  the 
contents  are  often  indicated  by  the  fig- 
ures with  knees  bent,  which  is  the  rule 
of  their  kind;  they  half  crouch,  as 
though  about  to  leap.  The  artist  does  not  hurl  these  figures  into 
space :  they  are  at  the  beginning  or  the  end  of  the  leap,  which  renders 
the  flexion  of  the  knees  necessary.  The  humorous  intention  is  evi- 
dent; the  joyous  Komastai  have  lost  all  idea  of  stability.     The  Bac- 


Fig.  50<J. 


2n 


THE    DANCERS 


f^^ 


chic  enthusiasm  which  the  Satyrs  express  in  their  exaggerated 
movements  is  here  exhibited  with  a  facility  that  suggests  play 
rather  than  dancing. 

The  name  Komos  is  applied  not  only  to  the  bacchic  follies  which 
followed  the  feasts  in  the  homes  of  the  rich,  but  to  bands  of  hilarious 

dancers  who  roamed  the  streets  in  noisy 
processions.  Sometimes  they  would  stop 
a  sober  citizen  and  insist  upon  serenading 
him;  they  even  invaded  houses  and  took 
part  in  the  diversions  of  the  company. 
Certain  of  the  Komos  customs  were  used  in 
the  Phallic  processions.  The  Komostai 
were  made  up  of  the  most  important  citi- 
zens and  the  most  ignorant  peasants,  all 
of  whom  were  worshipers  of  Dionysos,  and 
the  wine-god's  dance  made  one  as  good  as 
another.  In  all  this  fantastic  play  there 
was  one  rule  of  dancing  that  held:  each 
dancer  danced  to  please  himself,  without 
regard  for  the  step  of  any  other.  The 
result  was  chaos,  of  which  the  disorder  of  the  Bacchanales  is  only  an 
imitation. 

416.  That  the  simple  citizens  were  not  among  the  habitual  dancers 
is  proved  by  the  way  they  execute  any  Tempos  that  are  at  all  com- 
plicated. See  Figs.  366,  367  and  others  classed  as  character-Steps 
(P'igs.  461,  466,  467).  Enough  would  volunteer  to  make  up  the 
Step  for  Two  (Figs.  128,  408,  485). 

Sometimes  the  Ensemble  of  the  Komostai  is  ruled  as  are  other 
dances  (Figs.  230,  277).  The  texts  of  the  Greek  writers  confirm 
these  deductions.  Their  anecdotes  give  the  names  of  certain  amateur 
devotees  of  the  dance,  who  were  trained  under  the  direction  of  special 
teachers  (331)  in  all  of  the  different  parts  of  the  mechanism  of  the 
art,  and  who  attained  such  perfection  in  it  that  their  performances 
gave  great  pleasure  to  their  friends. 

The  private  dances  of  the  Greeks  were  wonderful  exercises  for 
the  body  and  the  mind.  They  were  the  means  of  displaying  talent 
for  these  things.     They  did  not  resemble  our  modern  social  dances. 


Fig.  600. 


CONCLUSION 


417.  Results  Acquired. — What,  with  the  Greeks,  were  the  modes 
of  dance-movement  .P  That  is  the  question  which  this  book  has 
sought  to  answer.  The  problem  of  the  Antique  Greek  Dance  has 
been  reduced  to  its  constituent  elements  by  means  of  the  paintings 
and  the  sculptures.     The  results  accomplished  are  here  presented. 


Positions 

Legs.  1.  Holding  the  feet  sidewise  (97).  The  invariable  rule  of 
the  modern  French  dance  was  practiced  by  the  Greek  dancers. 

2.  For  our  First  Position,  the  Greek  dancer  substituted  a  posi- 
tion excluded  from  our  dance,  which  may  be  seen  in  Figs.  75,  76, 
77,  101. 

3.  The  Fourth  crossed  had  three  forms,  which  correspond  to  a 
triple  position  of  the  feet  IV  crossed  on  the  sole  of  the  foot  (Fig.  84) 
IV  crossed  on  the  half-toe  (Fig.  85)  :  IV  crossed  on  the  toe  (Fig. 
86)  is  one  of  the  favorite  Positions  of  the  Greek  dancers. 

Arms.  4.  In  our  dance,  the  Carriage  of  the  Arms  is  a  decorative 
detail.  The  forms  are  numerous  and  simple  and  are  expressed  in 
geometrical  figures,  which  give  elegant  curves  (Figs.  88  to  99). 
The  Greek  dancer  did  not  always  curve  the  arms.  Sometimes  he 
even  uses  arm  positions  that  are  stiff  and  full  of  abrupt  angles 
(Figs.  110,  111,  112,  113,  114,  119,  120,  126,  127,  145,  etc.). 

Hands.  5.  The  hand  is  always  active.  Also,  the  Positions  it 
takes  have  great  variety  from  the  way  the  fingers  are  held  (Figs. 
161  to  181)  ;  with  modern  dancers,  the  hand  is  content  to  some- 
times play  a  passive  role,  merely  adding  finish  to  the  arm.  The 
hand  expressions  play  a  principal  role  in  the  Greek  dance. 

Body;  Head.  6.  The  Torso  bent  forivard,  and  the  Torso  bent 
backward  (Figs.  185,  186)  are  seldom  employed  by  our  dancers, 
and  on  the  rare  occasions  when  they  are  used  are  so   attenuated 

275 


276  CONCLUSION 

that  they  do  not  greatly  resemble  the  exaggerated  form  so  often 
met  in  the  Greek  dance  (155,  156). 

7.  The  same  observations  apply  to  the  forward  and  backward 
inclinations  of  the  head  (Figs.  197,  198)  which  the  Greeks  intro- 
duced into  their  dances  (162,  163,  164). 

8.  They  practiced  the  Attitudes  (Figs.  206,  207,  208). 

9.  Their  ideas  of  Oppositions  were  the  ideas  of  Noverre  and  Blasis 
(171). 

Preparatory  Exercises 

10.  The  Greek  dancers,  like  the  French,  never  deviated  from  the 
rule  of  the  Toe  held  down.  Neither  permitted  the  sole  of  the  foot 
to  be  seen  by  the  spectators  (180). 

11.  The  Greek  dancers  executed  the  B ending y  the  Separation^ 
tlie  Battement,  and  the  Circles  with  the  Legs  (178,  181,  189, 
195). 

12.  The  movements  of  their  arms,  instead  of  being  reduced  to  a 
gymnastic  formula,  intended  merely  to  be  decorative,  as  is  the  case 
with  our  dancers  (199),  were  used  in  expressive  gestures  (55). 
The  activity  of  the  hand  is  constant,  and  the  fingers  maintained 
their  independence  of  action.  The  Greek  dancer  made  the  dance 
into  a  pantomime. 

13.  Contrary  to  the  custom  of  our  dancers,  they  indulged  in 
violent  movements  of  the  head  and  body,  producing  oppositions 
between  the  Head  and  Torso  in  these  exaggerated  movements. 

14.  In  one  word,  the  Greek  dancer  achieved  eurhythmy  while  en- 
gaged in  much  freer  action  than  our  dancers  attempt. 


Tempos  and  Steps 

15.  The  Greek  dancers,  like  ours,  posed  sometimes  on  the  sole, 
sometimes  on  the  half-toe,  and  sometimes  on  the  toe  (214  to  216). 

16.  The  Tempos  and  Steps  were  identical  with  ours.  The  Greek 
dancers  employed  the  Slide  (226),  the  Fouette  (227),  the  Jete 
(229),  the  Balance  (234)  ;  they  used  the  tempos  and  steps  on  the 


RESULTS  ACaUIRED  277 

toe  (240,  241),  the  Cat-leap  (290),  the  Assemble  (254),  the  Muta- 
tion of  the  Feet  (254),  the  Entrechat  (255),  the  Preparation  and 
Execution  of  the  Pirouette  (269  to  271). 

17.  Tempos  and  steps  characteristic  of  the  Greek  dance:  their 
special  mechanism. 

Slides  made  on  both  feet  at  the  same  time  (Figs.  273,  274,  275, 
276). 

Leaping  in  place  from  one  foot  to  the  other  (Fig.  404). 

Upper  leg  lifted  (Figs.  405,  406,  407). 

Leaping  in  place  while  the  body  is  bent  forward  (Figs.  411,  412, 
413). 

Lateral  kick  (Fig.  414). 

Crouching  dance  similar  to  the  little  Russian  (Figs.  415  to  418). 

Dances  bending  forward  or  back  (Figs.  420  to  439). 

Turning  by  stamping  on  the  sole  of  the  foot  (Figs.  346  to  348). 

Turning  by  stamping  on  the  half-toe  (Figs.  349  to  353). 

Turning  by  stamping  in  IV  crossed  on  the  sole  of  the  foot,  on 
the  half-toe,  or  on  the  toe  (Figs.  354  to  359). 

Dances  with  the  mantle  (Figs.  447  to  459). 

Dances  with  the  hands  joined  (Figs.  460  to  480). 


Choregraphy 

18.  The  movements  executed  by  two  dancers  facing  each  other 
are  not  always  alike,  and  when  of  the  same  nature,  are  rarely  simul- 
taneous. The  dancers  are  concerned  with  making  their  movements 
harmonize  with  those  of  their  companions  (333). 

19.  It  may  be  stated  that  as  a  rule  the  two  dancers  do  not  touch 
one  another.  Whether  of  the  same  sex  or  not,  they  do  not  hold 
one  another  by  the  hand  or  by  the  waist. 

20.  In  the  Steps  for  Two  and  in  the  Steps  for  Three,  contrast 
rather  than  symmetry  is  the  rule. 

21.  The  traditional  group  of  Three  Dancers  (with  or  without  a 
leader)  escapes  from  the  conventions  of  the  preceding.  Usually 
the  women  hold  each  other  by  the  wrist,  the  hand,  or  the  border  of 
the  tunic:  the  result  is  that  their  movements  are  simultaneous  (343 
to  347). 


278  CONCLUSION 

22.  Ensembles. — Simultaneous  movement  is  seen  in  the  Farandole 
(files  of  dancers  holding  each  other  by  the  hand  [349,  350])  ;  in  the 
rare  representations  of  the  choric  scenes  (356);  in  the  paintings 
of  Ruvo  (Tratta  [357])  ;  on  a  bas-relief  from  the  Acropolis,  which 
furnishes  an  example  of  the  Pyrrhic  en  masse  (361).  The  rule  of 
the  same  step  is  in  these  instances  uniformly  applied. 

23.  On  the  contrary,  in  the  Ensembles  composed  of  Dionysian 
dancers,  the  absence  of  all  symmetry/,  the  systematic  disorder,  is 
the  rule. 

24.  The  Farandole  is  one  of  the  most  ancient  and  the  most  per- 
sistent of  the  forms  of  popular  dance  (348  to  352). 

25.  The  dances  in  armour  were  founded  on  the  principle  of  imi- 
tation, but,  in  time,  they  were  transformed  into  mere  spectacles  of 
a  decorative  nature. 

26.  The  Funeral  Dances. — These  were  reduced  to  symbolic  ges- 
ticulation, from  practices  that  were  originally  barbarous,  such  as 
tearing  the  hair,  scratching  the  face  with  the  finger-nails,  etc.,  all 
of  which  Solon  suppressed  (364).  The  gestures  are  seen  on  the 
most  ancient  vases  and  on  the  amphorae  of  the  decadent  period 
(370).  Those  dating  from  the  fifth  century  B.  C.  indicate  nothing 
more  than  symbols  of  the  more  ancient  practices ;  by  this  means  the 
tradition  was  perpetuated. 

418.  Technique  and  Esthetics. — Though  it  is  certain  that  the 
Greek  dancers  used  a  great  number  of  Tempos  and  Steps  identical 
with  those  of  the  modern  dance,  it  would  be  rash  to  conclude  that 
the  mechanism  of  their  dance  was  the  same  as  ours.  Our  dancers 
boast  a  precision  which  is  acquired  only  by  long  practice;  their 
ideal  consists  in  realizing  in  its  whole  perfection  certain  forms  of 
movement  rigorously  fixed.  With  them,  for  example,  the  Pirouette 
in  II,  made  in  the  Attitude  is  one  of  the  varieties  of  gyratory  move- 
ment of  which  the  amplitude,  the  liveliness,  and  the  successive  phases 
are  determined  with  astonishing  exactness. 

The  Greek  dancer  did  not  have  as  much  experience.  Without 
doubt,  there  was  a  grammar,  a  formula  of  Tempos  and  Steps,  but  the 
dancer  was  free  to  commit  as  many  solecisms  as  he  liked.  Fantasy 
was  the  first  rule,  and  it  permeated  all  kinds  of  plays.  Our  dancers 
misprize   the   childish   play   often   shown   in    the   ancient   work,   the 


EURHYTHMY  279 

grotesque  exaggerations  of  the  movements  of  the  walk,  the  run, 
the  leaps  in  place,  turning  by  stamping,  abrupt  inflections  and 
violent  twists  of  the  body  forward,  backward,  sidewise,  etc.  The 
poorest  dancer  was  the  one  who  lacked  flexibility. 

The  Greek  dance  is,  in  effect,  a  singular  melange  of  exercises, 
complicated  and  difficult,  like  the  Steps  on  the  toes.  Entrechats, 
Pirouettes,  which  were  slowly  acquired,  and  of  coarser,  rudimentary 
movements ;  the  Greek  dance  differs  from  ours  in  that  theirs  was 
free  expression,  while  ours  rules  out  the  unexpected.  Except  for 
this  one  great  difference,  the  arts  are  essentially  the  same. 

419.  One — ours — tends  to  show  the  body  in  perfection  of  form 
and  grace  of  movement.  Though  it  presents  unusual  methods  of 
locomotion,  it  may  be  called  natural.  The  movements  are  trans- 
formed in  using.  It  imposes  on  all  of  the  movements  certain  con- 
tortions of  which  the  reason  is  esthetic,  and  the  purpose  a  glorifica- 
tion of  the  body.  Our  dance  has  become  less  a  language  than  an 
idealized  decorative  gymnastic.  Therefore,  our  dancers  and  our 
actors  do  not  consider  their  arts  as  one;  the  mimetic  scenes  and 
the  dance  scenes  are  differently  interpreted. 

On  the  contrary,  in  the  Greek  dance  the  expressive  gesture  be- 
longs to  both  acting  and  dancing.  The  Greek  dancer  speaks  with 
his  body,  and  addresses  the  spectator  through  the  eyes.  He  must, 
for  instance,  make  it  understood  that  he  dances  in  honor  of  a  god. 
Tragic  dance  or  comic  dance,  must  each  affirm  its  role  by  the  char- 
acter of  its  movements,  which  are  always  free.  The  Pyrrhic  mimics 
actual  warfare;  the  Bacchanale  inflames  the  emotions  by  a  ritual 
of  contortions  that  in  truth  suggest  the  god  of  wine.  All  movements 
were  delicate  or  rude,  according  to  need,  made  in  graceful  chains, 
or  broken  abruptly.  The  goal  was  expression,  and  there  was  no 
question  about  choosing  the  means. 

The  Greek  dance  is  superior  to  ours  in  that  it  addresses  the  mind 
as  well  as  the  eyes.  Though  the  mechanism  may  be  inferior  to 
ours,  it  far  surpasses  ours  in  dramatic  value. 

420.  Whence  came  the  sense  of  eurhythmy  which  enabled  the 
Greek  to  secure  perfection  of  movement.'* 

The  Greek  writers  often  speak  of  eurhythmy  as  an  essential 
quality,   to   which   they   attached   the   highest   value.      Unhappily, 


280  CONCLUSION 

their  definition  is  not  explicit;  there  is  no  doubt  that  the  word  ex- 
pressed a  real  thing  which  had  a  real  existence,  but  we  are  left  in 
doubt  regarding  it. 

But,  if  it  is  impossible  to  define  with  exactness  the  quality  that 
they  called  eurhythmy,  we  need  have  no  fear  as  to  our  ability  to 
understand  the  general  meaning  of  the  word,  if  we  refer  to  such 
figures  as  151,  152,  155,  161,  188,  452,  453,  457,  463,  468,  501, 
etc.  The  principle  of  Opposition,  as  our  old  ballet-mastets  under- 
stood it,  meant  nearly  the  same  thing  that  we  sec  in  these  repre- 
sentations which  delight  the  eye  with  their  harmony  in  contrast. 
The  perfect  type  of  dance  shows  a  high  sense  of  the  ideal  form 
which  was  held  by  the  antique  Greek  dancer. 

It  is  to  be  noted  that  the  images  are  not  for  the  most  part  the 
products  of  the  industrial  arts,  but  the  work  of  the  great  artists. 
Phidias  sculptured  Nike  dancing  on  the  steps  of  the  throne  of 
Olympian  Zeus  (383).  The  Lacedemonian  dancers,  bronzes  of  Calli- 
maque, — the  chorus  of  young  women  attending  Diana, — these  are 
not  the  only  figures  of  which  the  historian  of  the  dance  deplores  the 
loss.  The  Flute  Player,  the  famous  bronze  of  Lysippus,  the  Courte- 
san of  Praxiteles,  were  probably  modeled  from  the  dance.  The  same 
supposition  holds  good  with  regard  to  the  Satyrs  of  Lysippus  and 
of  Praxiteles,  the  Silenus  of  Praxiteles,  and  many  others. 

We  have  reason  to  believe  that  the  most  precious  documents  re- 
garding the  dance  have  vanished  with  these  works  of  art.  We  may, 
it  is  true,  search  and  find  traces  of  the  influence  of  the  dance  in  the 
existing  statues  or  the  copies  of  them  preserved  in  our  museums 
which,  from  custom,  are  known  as  Nike,  Aphrodite,  or  Eros.  But 
it  is  slippery  ground,  and  the  field  for  conjecture  is  large. 

421.  Returning  to  the  vases  and  the  terra-cotta  figurines,  there 
are  many  surprises — and  deceptions,  if  one  is  to  take  the  word  of 
the  poets,  which  do  not  prove  the  dance  an  art  "divine,"  "irre- 
proachable." Note  the  corrections  to  be  made  in  the  awkwardness 
of  design,  errors  of  perspective, — taking  into  account  the  exaggera- 
tions which  verge  on  the  grotesque,  the  sculptured  figures  exhibit 
to  us  the  bizarre  movements,  contortions  and  violent  twists.  If 
eurhythmy  is  a  quality  of  such  figures  as  those  enumerated  in  a 
preceding  paragraph,  arrhythmy  is  the  only  word  that  expresses 


ARRHYTHMY  281 

the  character  of  the  following  examples:  118,  119,  128,  160,  171, 
189,  193,  275,  352,  353,  407,  408,  410,  411,  413,  420,  469,  474, 
492,  494,  B,  575.  Never  do  our  dancers  show  the  same  kind  of 
brusqueness :  they  are  very  careful  as  to  the  limits  of  the  movement 
of  Head  and  Body  (150,  200).  Sometimes  bending  Head  or  Torso 
forward  or  back,  they  stop  on  the  safe  side  of  the  grotesque  or  the 
ungraceful  in  the  fear  that  their  art  might  degenerate  into  the 
mere  acrobatic  exercises.  The  Greek  dancer  was  not  deterred  by 
these  scruples;  he  did  not  object  to  nearly  dislocating  his  members. 
This  is  not  to  be  taken  as  advice  to  copy  the  outlandish  movements 
permitted  to  the  Bacchants  and  justified  only  by  the  ritual  of  frenzy 
which  they  encouraged.  A  vase  in  the  Louvre,  belonging  to  the 
fifth  century  B.  C,  and  of  the  best  style  of  that  period,  reveals  to 
our  eyes  a  dance  of  the  Nymphs ;  the  form  is  identical  with  that  of 
the  Dionysian  dance;  the  moving  heads  show  the  delirium  of  the 
Menades ;  the  legs  of  dancer  A  and  the  whole  pose  of  the  body  is 
much  like  that  of  the  Satyr  in  Fig.  375, — the  dancer  C  resembling, 
in  the  backward  tilt  and  stamping  step.  Fig.  352,  which  is  taken 
from  a  bacchic  scene.  The  fanatics  of  Dionysos  did  not  have  a 
monopoly  of  the  violent  dances,  and  it  is  therefore  reasonable  to  con- 
clude that  the  Greek  dancer  did  not  always  obey  the  law  of  eu- 
rhythmy, assuming  the  meaning  of  the  word  to  be  inapplicable  to 
movements  that  lack  order. 

One  other  conclusion  is  inevitable — the  improvised  gambols  which 
the  Greek  dancer  felt  free  to  introduce  made  him  a  sorry  figure, 
at  times,  compared  with  the  modern  dancer  whose  Steps  are  gov- 
erned by  the  most  rigid  rules. 

422.  It  is  true  that,  in  saying  that  the  Greek  dance  was  mechan- 
ically less  perfect  than  ours,  it  is  to  be  remembered  that  it  was  less 
conventional  than  ours.  The  liberty  taken  in  the  choice  and  the  exe- 
cution of  the  movements  permits  him  to  indulge  his  fancy.  It  is 
enough  to  regard  the  series  of  painted  vases  as  showing  their  inde- 
pendence. They  reveal  an  art  which  the  painters  have  faithfully 
reproduced.  If  they  have  not  slavishly  followed  the  traditional  for- 
mulas, they  have  observed  fundamentals,  and  embroidered  them 
with  variations  of  their  own  which  are  easy  to  detect. 

Our  artists  find  it  difficult  to  escape  from  the  mold  of  the  school ; 


S8S  CONCLUSION 

the  modern  dance  is  a  science  as  well  as  an  art,  and  no  liberty  is 
allowed  in  the  execution  or  choice  as  to  the  smallest  detail.  The 
formula  is  inflexible;  the  least  infraction  of  the  conventions  estab- 
lishes a  bad  reputation.  The  Greek  dancer  was  hampered  by  no 
such  restrictions,  and  cannot  be  judged  by  the  same  standards. 

423.  In  a  word,  he  was  more  an  actor  and  less  a  dancer.  The 
Greek  language  has  but  one  word  for  both. 

The  actor-dancer  did  not  need  so  rigorous  a  gymnastic  training. 
The  mechanical  forms  which  make  up  the  lessons  of  our  dancing- 
masters  are  at  once  the  signs  and  the  interpretation  of  the  language. 
The  Greeks  had  all  the  nuances  of  dramatic  expression;  the  modifi- 
cations were  left  to  the  taste  of  the  dancer. 

This  justifies  the  childish  play  (418),  the  exaggerations  (421), 
of  which  much  has  been  said.  Through  the  dramatic  element,  the 
dancer  played  a  double  role,  and  his  audience  was  quick  to  see  its 
excellence. 

If  one  may  judge  the  Greek  dance  by  the  representations,  painted 
and  plastic,  which  have  come  down  to  us,  it  is  indispensable  that  one 
should  keep  in  mind  the  complexities  of  the  two  roles  assumed  by 
the  performers. 

424.  The  Greek  dancer  did  not  sacrifice  his  independence  by  fol- 
lowing a  common  rule  except  to  obtain  a  symmetrical  Ensemble; 
otherwise,  he  was  free. 

The  dance  for  two, — a  man  and  a  woman, — was  not  at  all  like 
that  practiced  in  our  ball-rooms.  We  transform  the  couple  into 
one  hybrid  person,  and  expect  that  one  to  perform  movements  and 
make  gestures.  In  our  social  dances,  the  man  and  woman  are 
more  or  less  closely  enlaced,  each  of  the  dancers  preserving  the 
freedom  of  motion  in  the  legs,  the  upper  part  of  the  body  being  mo- 
tionless. The  movement  of  the  legs  is  limited  to  a  certain  point 
which  reduces  it  to  a  monotonous  repetition  of  a  single  set  of 
motions. 

The  independence  which  was  the  right  of  the  Greek  dancer  ex- 
tended so  far  as  to  leave  each — man  and  woman — free  from  even  a 
restraining  hand-clasp.  They  danced  facing,  not  caring  to  make 
their  movements  simultaneous.  In  the  Bacchanales  there  are  fre- 
quently found  groups  of  two  or  three  dancers  who  execute  Steps  that 


MIMICRY  283 

imitate  an  erotic  scene.  In  this  mimicry  the  searcher  will  find  the 
reason  for  the  grouping,  the  amorous  comedy  that  is  played  is,  at 
the  same  time,  the  dance. 

Always,  always  the  Greek  dancer  acted. 

425.  Here  the  study  ends.  Its  science  is  modest,  its  word-dress 
mediocre.  It  is  not  an  attempt  to  induce  our  dancers  to  spend  five 
or  twenty  years  in  preparation,  but  to  show  that  the  dance  of  the 
Greeks,  though  its  technique  was  inferior  to  ours,  yet  has  its  re- 
venge in  that  it  was  dramatically  superior  to  the  French  dance. 


FINIS 


I 

LIST  OF  FIGURES 

INDICATING  THE  ORIGIN  AND  APPROXIMATE  DATE  OF  THE  AN- 
TIQUE SCULPTURES  FROM  WHICH  THEY  ARE  TAKEN 

PLATES  FROM  TEXT 

Plate  I. — Vase  in  the  form  of  a  psyctere  (190),  from  the  latter  part  of  the 
VI  century  B.  C.  Museum  of  the  Louvre. — Six  joyous  companions  of  Komos, 
who  follow,  two  by  two,  executing  various  dance-exercises.  (Photographs  by  M. 
J.  Bompard.) 

Plate  II, — Analysis  by  means  of  instantaneous  photographs  of  a  Grand  Batte- 
ment  in  fourth,  open,  held,  and  on  the  gro-und,  M.  Demeny,  arranged  by  Dr. 
Marey. 

Plate  III. — Analysis  by  means  of  instantaneous  photographs  of  an  Entrechat 
in  four,  by  M.  Demeny. 

Plates  IV  and  V. — Figures  taken  from  several  photographic  analyses  by 
Dr.   Marey.      Reconstructions   of  steps. 

FIGURES  FROM  THE  TEXT 

Abbreviations  used  in  the  following  list: 

V.  B.  F.  =  vase  with  black  figures. 
V.  R.  F.  =  vase  with  red  figures. 
T.  C.  F.  =  Terra-cotta  figurine. 

The  dates  given  are  those  of  the  centuries  preceding  the  Christian  era. 

Some  of  the  figures  are  shown  reversed  in  order  to  facilitate  the  comparison 
of  the  movements. 

Among  the  antique  sculptures  and  paintings  mentioned  in  this  volume,  but 
not  published,  are  the  following:  The  vase  from  the  Louvre,  part  of  which  is 
shown  in  Plate  I;  the  vases  from  the  Louvre,  partly  reproduced  in  figures  127, 
131,  135,  159,  160,  404,  405,  408,  409,  410,  485,  496,  504,  505,  506,  521,  543,  598; 
the  vases  from  the  Louvre,  with  red  figures,  from  which  are  taken  the  figures 
206,  366,  367,  414,  461,  481,  486,  531,  552;  the  terra-cotta  figurines,  also  from  the 
Louvre,  from  which  figures  190,  192,  359,  559,  565  are  constructed;  the  statuettes 
of  bronze  from  the  Cabinet  de  Medailles   (figure  579). 

285 


286  LIST    OF    FIGURES 

1.  Venus  de   Medici,  from  the  Museum  of  Florence,  the  work  of  Cleomenes 

of  Athens.    Marble,  of  the  I  century  B.  C;  the  type  is  a  derivation  from 
that  of  the  IV  century. 

2.  Worshipper.     Museum  of  Berlin,  bronze,  Greco-Roman. 

3.  Latosta,  Museum  of  the  Louvre,  bas-relief,  "archaisant,"  of  the  I  century. 

4.  Aphrodite,  Museum  of  the  Louvre,  T.  C.  F,,  from  Marina,  III  or  II  cen- 

tury. 

5.  WoMAK  IK  Drapery,  reposing.  Louvre  Museum,  T.  C.  F.  of  Tanagra,  IV 

century. 

6.  Athlete,  pouring  oil  over  his  body,  T.  C.  F.  from  Marina,  III  or  II  cen^ 

tury. 

7.  Diadumene  (copy  of  the  work  of  Polycetus),  National  Library,  Cabinet  of 

Medals,  a  small  bronze  of  the  V  century  type. 

8.  Wounded  Amazon,  Berlin  Museum,  marble,  of  the  V  century. 

9.  Aphrodite  Axadyomene,  British  Museum,  small  bronze  in  the   Hellenistic 

style. 

10.  The  Pourer   (one  of  the  Lare  gods?),  Museo  Borbonico,  XII,  xxv,  bronze, 

from  Pompeii. 

11.  Notation  of  the  Walk,  after  Marey,  the  Movement,  figure  4. 

12-13.  Figures  constructed  after  the  photographs  of  Marey,  showing  the  phases 
of  the  walk. 

14.  Walker  at  different  moments   of  the  step.     Reproduction   in  line    from   a 

photograph  on  plate.     Marey,  the  Movement,  figure   117. 

15.  Man   and   woman   dancing.    Unpublished   flatter   of    the   Institute,   IV,   Ivi, 

French  vase,  v.  B.  F.,  from  first  half  VI  century. 

16.  Menades,  of  Luynes,  Painted  Vases,  V,  v.  B.  F.,  VI  century. 

17.  Dancer,  Inghirami,  Etruscan  Vases,  II,  ex,  v.  B.  F.,  VI  century. 

18.  Hunter,  Collignon,  Greek  Sculpture,  I,  fig.  49,  archaic  bronze  plaque. 

19.  Dancers,  Museums  of  Athens,  archaic  bas-relief  (Hermes  and  the  Kharites), 

VI  century. 

20.  Menade,  Millingen,  Coghill  Collection,  xxxix,  v.  B.  F.,  VI  century. 

21-22.  Marchers,  from  the  Parthenon  Frieze,  fragment  in  the  Louvre,  marble 
bas-relief,  V  century. 

23.  Two  Women  Facing,  Gerhard,  Auserlesene   Vasenbilder,  I,  xxxvi,  v.  B.  F., 

VI  century. 

24.  Two  Women  Facing,  Lenormant  and  de  Witte,  Elite  Ceramographique,  II, 

Ixxvii,  V.  B.  F.,  VI  century. 

25.  Notation  of  the  Run,  after  Marey,  the  Movement,  fig.  4. 

26.  Runner,  Linair  reproduction  of  photograph  from  plate,  Marey,  the  Move- 

ment, fig.  118. 
27-30.  Runner,  Reproduction  from  photograph,  by  Marey. 
31-32.  Jumper,  Marey,  the  Movement,  fig.  96,  Two  figures  from  the  })late. 

33.  Woman  Running,  making  the  gesture  of  the  tunic,  Collignon,  Greek  Sculp- 

ture, I,  fig.  165,  archaic  bronze,  VI  century. 

34.  Woman  Running,  Bulletino  archeologico  napolitano,  V,  vii,  v.  F.  R.,  from 

the  end  of  the  V  century  to  the  beginning  of  the  IV. 

35.  Perseus  Running,  Archaeologische  Zeitung,  1881,  3,  4,  v.  B.  F.,  VI   cen- 

tury. 


LIST    OF    FIGURES  ^87 

36.  Winged  Genii  Runnitstg,  Gerhard,  Auserlesene  Vasenbilder,  IV,  cclv,  v.  B. 

F.,  VI  century. 

37.  Nike   Running,  called  the  Nike  of  Delos,  marble,   beginning  of  the  VI 

century. 

38.  Leaper,  after  a  photograph  by  Marey. 

39.  Flying  Nereides,  Museum  of  the  Louvre,  bas-relief  of  Assos,  VI  century. 

40.  Dancer,  Stackelberg,  die  Graeber  der  Hellenen,  x,  v.  B.  F.,  VI  century. 

41.  Athletic  Runners,  Saglio,  Dictionary  of  the  Antique  Greeks  and  Romans; 

Gerhard,    Etruskische    und    Kampanische     Vasenbilder,    amphora,    pana- 
theniac,  of  the  VI  or  V  century. 

42.  Satyr,  Furtwaengler,  Collection  Sabourof,  I,  Ivi,  v.   B.  F.,  one  of  the  V 

century. 

43.  Menade,  Clarac,  Musee  de  Sculpture,  pi.  138,  bas-relief  of  the  Roman  period, 

after  the  type  of  the  IV  or  the  III  centuries. 

44.  Satyr  Pursuing  a  Menade,  Heydemann,  Griechische  Vasenbilder,  v.  B.  F,, 

end  of  the  V  century. 

45.  Woman  Dancing  (before  an  altar),  Stackelberg,  die  Graeber  der  Hellenen, 

XXXV,  V.  B.  F. 

46.  Dancing  Komostes,   Unpublished  Matter  of  the  Institute,  X,  lii,  v.  B.  F., 

beginning  of  the  VI  century. 

47.  Komostes  Dancing,  psyctere  of  the  Louvre  (plate  I),  v.  R.  F.,  incised  about 

the  head,  latter  part  of  the  VI  century  or  beginning  of  the  V. 

48.  Dancing   Komostes,   Millen,  Paintings   on  Antique    Vases,  xxvii,   v.   R.   F., 

IV  century. 

49.  Dancing  Menade,  Stackelberg,  die  Graeber  der  Hellenen,  v.  R.  F.,  end  of 

the  V  century. 

50.  Menade    Dancing,   Lenormant   and   de    Witte,   Elite    ceramographique,   II, 

xliii,  V.  R.  F.,  end  of  the  IV  century  or  the  III. 

51.  Hermes  Running,  Gerhard,  Antique  Bildwerke,  xxxii,  v.  R.  F.,  V  century. 
52-68.    Representations  of  the  legs  in  different  Positions,  designs   from  nature 

and  from  photographs. 
69-70.  KoMosTi,  psyctere  from  the  Louvre  (plate  I),  v.  R.  F.,  incised  about  the 
head,  end  of  the  VI  or  beginning  of  the  V  century. 

71.  Satyr,  Lenormant  and  de  Witte,  Elite  ceramographique,  IV,  xxxi,  v.  R.  F., 

IV  century. 

72.  Dancing   Hetaire,  Dumont  and  Chaplain,  Ceramique  de   la  Grece  propre, 

X,  3,  figure  of  terra-cotta,  Hellenistic  period. 
73-74.    Hierodules  Dancing,  Heroon  of  Gliieul-Baschi  (Trysa),  bas-reliefs  deco- 
rations of  the  end  of  the  V  century. 

75.  Representation  of  turns  of  the  feet. 

76.  Dancer,  Carapanos,  Dodone,  XII,  feet  from  a  mirror,  of  bronze,  VI  cen- 

tury. 

77.  Dancer,  Clarac,  Musee  de  Sculpture,  pi.  456,  a  bronze  from  Herculaneum. 

78.  Woman  Standing,  foot  of  a  mirror  of  bronze.  Louvre  Museum,  V  century. 

79.  Dancer,   from   Herculaneum,  Museum   of   Naples,  bronze,   in   the   style  of 

the  V  century. 

80.  Menade,  la  Borde,  Collection  Lamberg,  v.  F.  R.,  end  of  the  IV  or  beginning 

of  the  III  century. 


^88  LIST    OF    FIGURES 

81.  Satyr,  Millin,  Vases  Antiques,  xxviii,  v.  R.  F.,  Ill  century, 

82.  HiERODULE,  Winkelmann,  Monumenti  antichi  inediti,  xlvii,  bas-relief  on  the 

base  of  a  candelabrum,  of  the  Hellenistic  period. 

83.  HiERODULE,  Dumont  and  Chaplain,  Ceramique  de  la  Grece  propre,  x,  I,  terra- 

cotta figurine,  Hellenistic  period. 

84.  Pyrrhic  Dancer,  coupe,  R.  F.,  Louvre  Museum,  V  century. 
85\     Satyr,  called  the  Borghese  Faun,  marble,  Hellenistic  period. 

86.  Daxcer,  Compte  rendu  de  la  Commission  imperiale  de  Saint-Petersbourg, 

1880,  pi.  V,  terra-cotta,  of  not  later  than  the  end  of  the  IV  century. 

87.  KoMASTES,  Benndorf,  Griechische  und  Sicilsche   Vasenbilder,  xliv,  v.  R.  F., 

III  century. 

88-101.  Representations  of  the  principal  positions  of  the  arms. 

102.  Dancer,  making  the  double  gesture  of  the  tunic,  Kekule,  Terracotten  von 

Sicilen,  p.  23,  T.  C.  F.,  Hellenistic  period,  after  a  more  ancient  type. 

103.  Nike,  flying,  dancing,  and  making  the  double  gesture  of  the  tunic,  Furt- 

waengler.  Collection  Sabouro^,   II,  cxlv,  small  terra-cotta  plaque,  gilded, 
of  the  Hellenistic  period. 

104.  Dancer,  Clarac,  Musee  de  Sculpture,  pi.  456,  a  bronze  from  Herculaneum. 

105.  Dancer,  making  the  double  gesture  of  the  tunic,  Museo  Borbonico,  X,  vi., 

V.  R.  F.,  painting  from  Herculaneum. 

106.  Nike  Dancing,  of  Luynes,  Vases  peints,  xxx,  v.  R.  F.,  V  century. 

107.  Nike   Dancing,   a   suspended    figure.    Gazette    archeologique,    1884,    pi.   25, 

bronze  of  the  decadent  period. 

108.  Dancer  (vaulting),  Stackelberg,  die  Graeber  der  Hellenen,  XXIII,  v.  R.  F., 

IV  century. 

109.  Psyche  Dancing,   small  figurine   accompanying  the  Eros,  called  the  Eros 

of  Magare,  Louvre  Museum,  terra-cotta  figurine,  Hellenistic  period. 

110.  Infant  Dancing,  Heydemann,  Griechische   Vasenbilder,  XII,  v.   R.  F.,  IV 

century. 

111.  Menade  Dancing,  Monumenti  inediti  delVInstituto,  1891,  supplement,  XXIV, 

V.  R.  F.,  first  half  of  the  V  century. 

112.  Dancing  Infant,  Stackelberg,  die  Graeber  der  Hellenen,  XVII,  v.  R.  F., 

IV  century. 

113.  KoMASTES,  Stackelberg,  die  Graeber  der  Hellenen,  v.  R.  F.,  VI  century. 

114.  KoMASTEs,  psyctere  of  the   Louvre    (plate   I),  v.   R.   F.,  incised   about   the 

head,  end  of  the  VI  or  commencement  of  the  V  century. 

115.  Menade,  Museum  of  Naples,  marble  bas-relief,  of  the  Hellenistic  period. 

116.  Dancer  (vaulting),  Stackelberg,  die  Graeber  der  Hellenen,  XXIII,  v.  R.  F., 

IV  century. 

117-118.  Menades,  Gerhard,   Trinkschalen  und  Gefaesse  .  .  .  zu  Berlin,  VII,  v. 
R.  F.,  end  of  the  V  century. 

119.  Satyr,  Conze  and  Benndorf,  Vorlege  Blaetter,  series  D,  taf.  IV,  v.  R.  F., 

V  century. 

120.  Hetaire  Dancing,  Compte  rendu  de  la  Commission  imperiale  archeologistique 

de  Saint-Petersbourg,  1869,  p.  161,  v.  R.  F.,  IV  or  III  century. 

121.  Satyr,  Gerhard,  Trinkschalen  und  Gefaesse  .  .  .  zu  Berlin,  X,  v.  R.  F.,  Ill 

century. 


■LIST    OF    FIGURES  289 

122.  Bacchante   (?),  Antiquites  du  Bosphore  Cimmerien,  LXX,  terra-cotta  fig- 

urine, Hellenistic. 

123.  Woman  Dancing  (Step  for  Three),  Millingen,  Coghill  Collection,  I,  v.  R.  F., 

IV  century. 

124.  Menade,  Borghese  vase,  in  the  Louvre,  bas-relief,  I  century. 

125.  Ithyphallic  Komastes,  Gerhard,  Antike  Bildwerke,  LXXII,  v.  R.  F.,  Ill 

century. 

126.  Satyr,  Conze  and  Benndorf,  Vorlege  Blaetter,  series  D,  taf.  IV,  v.  R.  F., 

V  century. 

127.  Komastes,  Corinthian,  in  the  Louvre  Museum,  v.  B.  F.,  beginning  of  the 

VI  century. 

128.  Two  Komastae    (Step   for  Two),  Dumont  and  Chaplain,  Ceramique   de   la 

Orece  propre,  p.  239,  archaic  Corinthian  vase,  beginning  of  VI  century. 

129.  Man    Dancing,    Dumont    and    Chaplain,    Ceramique    de    la    Grece    propre, 

XXXII,   foot  of  a  bronze   mirror,   V   century. 

130.  Dancer,  of  Herculaneum,  in  Museum  of  Naples,  bronze,  style  of  V  century. 

131.  Komastes,  Corinthian,  Museum  of  the  Louvre,  v.  B.   F.,  beginning  of  the 

VI  century. 

132.  Komastes,  Gerhard,  Auserlesene  Vasenbilder,  CCLXXXVI,  v.  B.  F.,  VI  cen- 

tury. 

133.  Hierodule,  Winkelmann,  Monumenti  antichi  inediti,  XLIX,  bas-relief  on  the 

base  of  a  candelabrum,  of  the  Hellenistic  period. 

134.  Dancer  (vaulting),  Stackelberg,  die  Graeber  der  Hellenen,  XXIII,  v.  R.  F., 

IV  century. 

135.  Menades,  amphora  of  Nicosthenes,  Louvre  Museum,  v.  R.  F.,  VI  century. 

136.  Ephebe  Dancing,  Gerhard,  Auserlesene  Vasenbilder,  CCVI,  v.  R.  F.,  V  cen- 

tury. 

137.  Satyr,  Carapanos  Dodone,  IX,  bronze  statuette,  VI  century. 

138.  Dancer  of  Herculaneum,  Museum  of  Naples,  style  of  V  century. 

139.  A  dance  scene  with  many  persons  (?),  Journal  of  Hellenic  Studies,  1890, 

XI,  V.  R.   F.,  V  century,  second   half. 

140.  Satyr,  Gerhard,  Auserlesene  Vasenbilder,  CCLXXXVI,  v.  B.  F.,  VI  cen- 

tury. 

141.  Dancer  Holding  a  Dulcimer,  Millin,  Peintures  de  Vases  antiques,  II,  liii, 

V.  R.  F.,  end  of  the  IV  or  III  century. 

142.  Infant  Eros  (flying),  suspended  figure,  Furtwaengler,  Collection  Sabourof, 

II,  cxxiv,  terra-cotta  figurine,  IV  century. 

143.  Dancer,  Clarac,  Musee  de  Sculpture,  pi.  776,  terra-cotta  figurine,  Hellenistic. 

144.  Nike  Dancing,  Pottier  and  Reynach,  Necrepole  de  Myrina,  XXI,  2,  figurine 

of  terra-cotta.  III  or  II  century. 

145.  Hetaire  Dancing,  and  playing  on  the  tambourine,  Scheene,  Griechische  Re- 

liefs aus  athenischen  Sammlungen,  XXXV,  bas-relief  of  terra-cotta,  first 
half  of  V  century. 

146.  Two  Satyrs  (Step  for  Two),  v.  B.  F.,  VI  century. 

147.  Komastes,  psyctere  in  the  Louvre  Museum,  v.  R.  F.,  incised  about  the  head, 

end  of  the  VI  or  beginning  of  the  V  century. 

148.  Menade,   Gerhard,  Auserlesene   Vasenbilder,  II,  cxlii,   v,    B.   F.,  VI   cen- 

tury. 


290  LIST    OF    FIGURES 

149.  Mexade,  Inghirami,  Vasi  Etruschi,  III,  cclxx,  v.  B.  F.,  IV  century. 

150.  Bacchante,  Stackelberg,  die   Graeber  der  Hellenen,  XXIV,  v.   R.   F.,  IV 

century. 

151.  Infaxt   Eros,   Rayet,  Monuments  de   I' Art   antique,   fig.   T.   C,   Tanagren, 

IV  century. 

152.  Nike    (winged),   dancing,  Stackelberg,  die  Graeber  der  Hellenen,  LX,  fig. 

T.  C,  Hellenistic. 

153.  Nike   (winged),  dancing.  Pettier  and  Reinach,  Necroyole  de  Myrina,  XXI, 

1  fig.  T.  C,  III  or  II  century. 

154.  Bacchante,  Antike   Denkmaeler   von   kaiserlich   deutschen  Archeoloc/ischen 

Institut,  1888,  Band  I,  dritte  Heft,  taf.  36,  v.  R.  F.,  IV  century. 

155.  Dancer  of  Herculaneum,  Museum  of  Naples,  bronze,  style  of  V  century. 

156.  Dancer,  Heuzey,  Figurines  antiques,  du  Louvre,  XXVIII,  4,  fig.  T.  C,  IV 

or  III  century. 

157.  KoMASTEs,  Millin,  Peintures  de   Vases  antiques,  II,  xlii,  v.  R.   F.,  IV  cen- 

tury. 

158.  KoMASTES,  Monumenti  inediti  deWInstituto,  X,   lii,  v.   B.   F.,  beginning  of 

the  VI  century. 

159.  KoMASTES,  Corinthian,  Louvre  Museum,  v.  B.  F.,  beginning  of  the  VI  cen- 

tury. 

160.  Menade  Beween  Two  Satyrs,  Corinthian  vase  in  the  Louvre,  v.  B.  F.,  be- 

ginning of  the  VI  century. 

161.  Dancer  of  Herculaneum,  Museum  of  Naples,  bronze,  style  of  the  V  cen- 

tury. 

162.  Satyr,  Monumenti  inediti  deWInstituto,  VIII,  xlii,  v.  R.  F.,  end  of  the  V 

century. 

163.  Two  Satyrs,  Lenormant  and  de  Witte,  Elite  ceramiographique,  III,  xc,  v.  R. 

F.,  IV  century. 

164.  Satyr,  Millingen,  Coghill  Collection,  XXIX,  v.  R.  F.,  V  century. 

165.  Satyr,  Millingen,    Vases  peints,  XXXVI,  v.   R.   F.,  IV  century. 
166-169.  Menade,  Komastes,  Satyrs,  Millin,  Peintures  de  Vases  antiques,  II,  xxxvi 

and  xxxviii,  v.  R.  F.,  end  of  the  IV  century  or  beginning  of  the  III  cen- 
tury. 

170.  Young  Girl,  Lenormant  and  de  Witte,  Elite  ceramographique,  III,  xxvl, 

v.  R.  F.,  IV  century. 

171.  SiLENus   (?),  Museo  Borbonico,  VII,  xxx,  candelabrum  in  bronze,   Roman 

period. 

172.  Satyr,  Millingen,  Collection  Coghill,  XXIX,  v.  R.  F.,  V  century. 

173.  Satyr,  Lenormant  and  de  M'itte,  Elite  ceramographique,  IV,  xxxi,  v.  R.  F., 

IV  century. 
174-175.  Satyr,  Menade,  Millin,  Peintures  de  Vases  antiques,  II,  xxxvi,  bis,  vol.  I, 
V.  R.  F.,  end  of  IV  century. 

176.  HiERODULE,  Winkelmann,  Monumenti  antichi  inediti,  XLVIII,  bas-relief,  on 

the  base  of  a  candelabrum,  Hellenistic  period. 

177.  Satyr,  Babelon,  le  Cabinet  des  Antiques  a  la  Bibliotheque,  Nationale,  XXXI, 

bronze  of  Hellenistic  period. 

178.  Komastes,  Furtwaengler,  Collection  Sabourof,  I,  xlvii,  v.  B.  F.,  beginning 

of  the  VI  century. 


LIST    OF    FIGURES  291 

179.  HiERODFLE,    Visconti,    Museo    Pio    Clementino,    III,    terra-cotta   bas-relief, 

Hellenistic  period. 

180.  Satyr,  called  the  Faun  of  Pompeii,  Museum  of  Naples,  bronze,  Hellenistic. 

181.  Satyr,  Antiquites  d'Herculaneum,  VH,  cxlix,  bronze,  Roman  period. 
182-186.    Representations  of  positions  of  body. 

187.  Menade,  Millingen,  Collection  Coghill,  XXXIX,  v.  B.  F.,  VI  century. 

188.  Eros  Dancing,  holding  Bacchic  symbol,  Pottier  and  Reynach,  Necropole  de 

Myrina,  XI,  terra-cotta  figurine.  III  or  II  century. 

189.  KoMASTES,  or  Satyr,  Chabouillet,  Cabinet  Fould,  XVIII,  v.  R.  F.,  Ill  cen- 

tury. 

190.  Bacchante  (?),  Louvre  Museum,  terra-cotta  figurine,  Italio-Greek,  II  cen- 

tury. 

191.  Dancer  Bending,  Gerhard,  Antike  Bildwerke,  C.  I.,  holding  a  bronze  vase, 

V  century. 

192.  Bacchante  (?),  Museum  of  Medals,  terra-cotta  figurine,  II  century. 

193.  Menade,  Baumeister,  Denkmaeler  des  Klassischen  Alterthums,  p.  848,  Hel- 

lenistic bas-relief, 

194-198.    Representations  of  positions  of  the  head. 

199.    Dancing  Nymphs,  Monuments  grecs,  published  by  the  Association  fpr  En- 
couraging the  Study  of  the  Greeks,   Nos.   17   and   18,  v.   R.   F.,  end  of 

V  century. 

200-203.  Representations  of  the  Attitude  and  Arabesque,  from  life. 

204.  Infant  Eros,  Rayet,  Monuments  de  I' Art  antique,  terra-cotta  figurine,  Tana- 

gra,  IV  century. 

205.  Satyr  Rope  Dancer,  Museo  Borhonico,  VII,  li,  Pompeian  painting,  I  century. 
20fi.     Child  (learning  to  dance).  Louvre  Museum,  R.  F,,  first  half  of  V  century. 

207.  Dancer  in  the  Attitude,  Museum  of  Medals,  bronze,  Hellenistic  period. 

208.  Bacchante,  Clarac,  Musee  de  Sculpture,  pi.  776,  terra-cotta  figurine,  Hellen- 

istic period. 
209-214.    Representations  of  bending  Positions. 

215.  KoMASTES,   Corinthian  bowl,   from   the   Louvre,  v.   B.   F.,   beginning  of  VI 

century. 

216.  Satyr    (Ityphallic),   preceding   the   train    of   chariots    of   the    centaurs,    in 

which  are  a  grotesque  Hercules  and  Nike.  Monuments  Grecs,  published 
by  the  Association  to  Encourage  the  Study  of  the  Greeks.  No.  5,  pi.  HI, 
V.  R.  F.,  IV  century. 

217.  Representations  of  a  Battement  on   the  ground. 

218.  Representation  of  a  Battement  held. 

219-220.  Komastes,  psyctere  from  the  Louvre  (plate  I),  v.  R.  F.,  incised,  about  the 

head,  end  of  VI  or  beginning  of  the  V  century. 
221.    Representation   of   the   "Rond   de   jambe"    (circles   with  the  legs),   on   the 

ground. 
222-228.  Photographic  analysis  of  the  circle  with  the  leg,  held. 

229.  Representation  of  the  "Rond  de  jambe,"  theory  of  construction. 

230.  KoMASTi,  Archaelogische'  Zeittmg,  1881,  III,  iv.  v.  B.  F.,  VI  century. 

231.  Representation  of  the  Directions. 

232.  Representations  of  the  step  in  the  ordinary  walk   (A),  and  the  step  in  the 

dance-walk  (B). 


^92  LIST    OP    FIGURES 

233.  The  feet  with  and  without  the  heel,  theoretical  construction. 

234.  Satyr,  v.  B.  F.,  VI  century. 

235.  Menade,  Inghirami,  Vast  Etruschi,  III,  cclxx,  v.  B.  F.,  VI  century. 

236.  Menade,  Museo  Borhonico,  III,  xxix,  v,  R.  F.,  beginning  of  the  IV  century. 

237.  Satyk,  called  the  Faun  of  Pompeii,  Museum  of  Naples,  bronze,  Hellenistic. 

238.  Outline  representation  of  the  feet  in  the  Classe. 

239-243.  Photographic  analyses  of  the  Coupe  under,  with  the  left  leg. 
244-247.  Photographic  analysis  of  the  Coupe  over  with  the  left  leg. 
248-251.  Photographic  analysis  of  a  Fouette  backwards  with  the  left  leg. 
252-356.  Photographic  analysis  of  a  Jet6  over  with  the  right  leg. 
257-261.  Photographic  analysis  of  a  Jete  over  with  the  left  leg. 
262-265.  Photographic  analysis  of  a  Jete  over  to  the  left. 
266-269.  Photographic  analysis  of  a  Jet^  over  to  the  right. 

270.  Satyr,  Millin,  Vases  antiques,  XXVIII,  v.  R.  F.,  end  of  IV  or  beginning  of 

III  century. 

271.  Menade,     playing     with     castanets,     Gerhard,     Auserlesene      Vasenbilder, 

CCXXXVI,  V.  B.  F.,  VI  century. 

272.  Satyr,  Gerhard,  Apulloche  Vasenbilder,  III,  v.  R.  F.,  end  of  the  IV  or  III 

century. 

273.  Bacchante,  Lenormant  and  de  Witte,  Elite  ceram,ogra'phique,  IV,  Ixi,  v.  R. 

F.,  Ill  century. 

274.  Reconstruction. 

275.  Satyr,  de  Witte,  Hotel  Lambert,  XXVIII,  v.  R.  F.,  end  of  V  century. 

276.  Reconstruction. 

277-278.  KoMASTAi,  Jahrbuch  des  Kaiserlich  deutschen  Archaeologischer  Instituts, 
1890,  p.  244,  V.  B.  F.,  VI  century. 

279.  Satyr,  Monumenti  inediti  dell' Institute,  IV,  x.,  v.  R.  F.,  end  of  IV  century 

or  beginning  of  III. 

280.  KoMASTEs,  Millin,  Peintures  de   Vases  antiques,  II,  xlii,  v.   R.   F.,  end  of 

IV  century. 

281.  Satyr,  Inghirami,  Vasi  Etruschi,  I,  xcix,  v.  R.  F.,  V  century. 

282.  Satyr,  Museo  Borbonico,  III,  xxix,  v.  R.  F.,  beginning  of  the  IV  century. 

283.  Satyr,  Borghese  vase.  Louvre  Museum,  bas-relief,  I  century. 

284.  Representations  of  the  Satyr  called  the  Faun  of  Pompeii. 

285.  Reconstruction. 

286.  Dancer,  playing  with  castanets,  Pottier  and  Reynach,  Necropole  de  Myrina, 

XXXIV,  2,  figurine  of  terra-cotta.  III  or  II  century. 
287-293.  Photographic  analysis  of  an  Eschappe  in  II  on  the  toes. 
294-302.  Photographic  analysis  of  a  rise  on  the  toes. 

303.  Hierodule,    Compte    rendu   de   la   Commission   imperiale   archeologique   de 

Saint-Petersbourg,  1866,  small  gold  plaque,  an  ornament  on  the  costume 
of  a  priestess  of  Demeter,  Hellenistic  period. 

304.  Bacchante,  Compte  rendu  (see  preceding  figure),  1862,  V,  v.  R.  F.,  end  of 

IV  century  or  III  century. 

305.  Satyr,  Millin,  Peintures  de   Vases  antiques,  I,  Ixvii,  v.  R.  F.,  end  of  IV 

century  or  III  century. 
306-309.  Photographic  analysis  of  small  steps  on  the  toes. 
310-311.  HiERODULES  (see  fig.  303),  Hellenistic  period. 


LIST    OF    FIGURES  ^93 

312.  Outline  and  plans  of  the  Assemble. 

313.  Outlines  and  plans  of  the  change  of  the  feet. 

314-316.  Outlines  and  plans  of  the  three  forms  of  the  Entrechat-three. 

317.  Outlines  and  plans  of  the  Entrechat- four. 

318.  Bacchante,  Chabouillet,  Cabinet  Fould,  XVIII,  v.  R.  F.,  Ill  century. 

319.  Representation  of  the  Preparation  for  the  Pirouette. 

320.  Representation  of  the  Execution  of  the  Pirouette  outward. 

321.  Representation  of  the  Execution  of  the  Pirouette  inward. 

322-345.  Photographic  analysis  of  the  Preparation  and  Execution  of  the  Pirouette. 

346.  Hetaire  Dancing,  Dumont  and  Chaplain,  Ceramique  de  la  Grece  propre, 
X,  2,  terra-cotta  figurine,  Hellenistic. 

347-348.  HiERODULEs  Dancing,  Heroon  of  Ghient-Baschi  (Tyrsa),  decorative  bas- 
reliefs  of  the  end  of  the  V  century. 

349.  Menade,  la  Borde,  Collection  Lamherg,  end  of  IV  century  or  III  century. 

350.  CuRETE   Dancing,   bas-relief   from   Campana,   Louvre   Museum,   terra-cotta, 

I  century. 

350.  (Cont'd),  Curetes  Dancing  (the  infant  Zeus,  nursed  by  Amalthee,  is  found 

between  two  gods),  Saglio,  Dictionnaire  des  Antiquitis  greques  et  romaines, 
article  on  Amalthee,  bas-relief  in  terra-cotta,  I  century. 

351.  Bacchante,  Dumont  and  Chaplain,  Ceramique  de  la  Grece  propre,  XII,  xii, 

V.  R.  F.,  V  century. 

352.  Bacchante,    Lenormant    and    de    Witte,    Elite    ceramographique,    IV,    Ixi, 

V.  R.  F.,  Ill  century. 

353.  Bacchante,  Millingen,  Collection  Coghill,  XX,  v.  R.  F.,  end  of  IV  century 

or  III  century. 

354.  Satyr,  Lenormant  and  de  Witte,  Elite  ceramographique,  II,  xlv,  v,  R.  R. 

355.  Satyr,  called  the  Borghese  Faun,  marble,  Hellenistic  period. 

356.  Hierodule  Dancing  (see  348),  decorative  bas-relief,  end  of  V  century. 

357.  Dancer,  Compte  rendu  de  la  Com^mission  imperiale  archeologique  de  Saint- 

Petersbourg,   1880,  pi.  V,  terra-cotta,  supposed  to  be  of  the  end  of  the 

IV  century. 

358.  Dancer,  Heusey,  Figurines  antiques  du  Musee  du  Louvre,  pi.  47,  terra-cotta 

figure,  Cyrenian,  in  style  of  IV  century. 

359.  Dancer,  Louvre  Museum,  Tanagra  figurine  of  terra-cotta,  IV  century. 

360.  Komastes,  psyctere,  in  the  Louvre  (plate  1),  v.  R.  F.,  incised  about  the  head, 

end  of  the  VI  or  beginning  of  the  V  century. 

361.  Menade,  Conze  and  Beundorf,  Vorlege  Blaetter,  1891,  Vol.  VII,  v.  R.  F., 

V  century. 

362.  Dancer  (see  358),  terra-cotta  figurine,  style  of  IV  century. 

363.  Hetaire    Dancing,  Inghisami,  Vasi  Etruschi,  III,  cclxxiii,  v.  R.  F.,  IV  century. 

364.  Menade,  Archaeologische  Zeitung,  1872,  p.  70,  v.  R.  F.,  IV  century. 

365.  Woman  Dancing,  Stackelberg,  die  Graeber  der  Hellenen,  XXVI,  v.  R.  F., 

IV  century. 
366-367.     KoMASTi  (see  fig.  360),  v.  R.  F.,  end  of  VI  century. 

368.  Vase  in  form  of  a  dancer.     Treu,  Programm  zum  Winkelmannfeste,  terra- 

cotta figurine.  III  or  II  century. 

369.  Bacchante,  Stackelberg,  die  Graeber  der  Hellene,  XXIV,  xxiv,  v.  R.  F., 

IV  century. 


S94 


LIST    OF    FIGURES 


370-375.  Photographic  analysis  of  a  very  simple  chain;  Coupe  and  Fouette. 
376.    Representation  of  Battement,  alternating  on  the  ground,  from  life. 
377-384.  Photographic  analysis  of  alternating  Jete  over. 

385.  Representation  of  two  contrasting  movements. 

386.  Satyrs,  Lenormant  and  de  Witte,  Elite  ceramogra'phique,  III,  xc,  v.  R.  F., 

IV  century. 
387-398.  Photographic  analysis  of  the   "cat-leap." 

399.  Ny3iph  Daxcixg,  and  playing  the  cymbals,  Monuments  grecs,  i)ublished  by 

the  Association   for  the  Encouragement  of  the   Study  of  the   Greeks  in 
France,  Nos.  17  and  18,  v.  R.  F.,  end  of  the  V  century. 

400.  Bacchante,  Stackelberg,  die  Graeber  der  Hellenen,  XXIV,  v.  R.  F.,  IV  cen- 

tury. 

401.  Representation  of  the  line  of  equilibrium. 
402-403.  Representation  of  the  vertical  line  of  balance. 

404-405.  KoMASTi,  taken  from  two  Corinthian  vases  in  the  Louvre,  v.  R.  F.,  be- 
ginning of  VI  century. 

406.  Satyr,  Hergard,  Auserlesene  Vasenbilder,  I,  lii,  v.  R.  F.,  VI  century. 

407.  KoMASTi    (step    for   two),   Dumont  and   Chaplain,   Oerawigwe    de    la   Grece 

propre,  p.  239,  v.  B.  F.,  beginning  of  VI  century. 
408-410.    KoMASTi   (see  figs.  404,405),  v.  B.  F.,  beginning  of  VI  century. 

411.  Satyr,   Gerhard,  Auserlesene   Vasenbilder,   II,  cxlii,  v.   B.   F.,  VI   century. 

412.  Reconstruction. 

413.  Satyr,  Heydemann,  Griechische  Vasenbilder,  II,  v.  R.  F.,  V  century. 

414.  Satyr,  Skyphos,  in  the  Louvre  Museum,  v.  R.  F.,  IV  century. 

415.  Satyr  (see  fig.  411),  v.  B.  F.,  VI  century. 

416.  Satyr,  Stackelberg,  die  Graeber  der  Hellenen,  XXV,  4,  v.   R.  F.,  V  cen- 

tury. 
417-418.  Satyr,  Museo  Borbonico,  VII,  painting  from  Pompeii,  I  century. 

419.  Dance  of  Little  Russia,  from  an  instantaneous  photograph. 

420.  Bacchante,  Stackelberg,  die  Graeber  der  Hellenen,  XXIV,  v.  R.   F.,  IV 

century. 
421-426.  Photographic  analysis  of  the  steps  indicated  in  the  preceding  figure. 
427.    Menade   and  Satyr,   Baumeister,   Denkmaeler   des   Kla^sichen   Alterthums, 

p.  848,  Hellenistic  bas-relief. 
428-437.  Photographic  analysis  of  a  reconstructed  step. 
438-439.    Bacchantes,  Gerhard,  Trinkschalen  und  Gefaesse,    .    .    .   zu  Berlin,  W., 

v.  R.  F.,  ascribed  to  Heiron,  beginning  of  the  V  century. 

440.  Satyr,  Gerhard,  Auserlesene  Vasenbilder,  IV,  ccli,  v.  B.  F.,  VI  century. 

441.  Person  of  Asiatic  appearance,  Antiquites  de  Bosphore  Cimmerien,  LXX,  a, 

figurine  in  terra-cotta,  Hellenistic  period. 

442.  Reconstruction. 

443.  Scythe    (?),   Dancing,   Antiques   du   Bosphore    Cimmerien,   LXIV,   terra- 
cotta figurine,  Hellenistic. 

444.  Satyr,  Museo  Borbonico,  XV,  xv,  v.  R.  F.,  IV  century. 

445.  Reconstruction. 

446.  Satyr,  Gerhard,  Auserlesene   Vasenbilder,  LX,  v.   R.   F.,  V  century. 

447.  Women  Dancing,  v.  R.  F.,  IV  century. 


LIST    OF    FIGURES  295 

448.  WoMAx    ijsr    Drapery,    Dancing,    Stackelberg,    die    Graeber   der   Hellenen, 

LXVII,  terra-cotta  figurine,  IV  century. 

449.  Woman  in  Drapery,  Dancing,  Collection  Lecuyer,  S.,  2,  figurine  of  terra- 

cotta, style  of  IV  century. 

450.  Women  in  Drapery,  Dancing,  Revue  archeologique,  1868,  III,  engraved  mir- 

ror, Hellenistic  period. 

451.  Woman  in  Drapery,  Dancing,  Bulletin  de  Correspondance  hellenique,  1892, 

pi.  IV,  terra-cotta  figurine,  style  between  that  of  Tanagra  and  the  Hel- 
lenic, end  of  IV  century. 

452.  Woman    in    Drapery,   Dancing,   Louvre   Museum,   terra-cotta   figurine   of 

Tanagra,  IV  century. 

453.  Dancer,  Collection  Lecuyer,  Z.,  terra-cotta  figure,  Hellenistic. 

454.  Bacchante,  Inghirami,  Vasi  Etruschi,  II,  cL,  v.  R.  F.,  Ill  century. 

455.  Satyr,  Museum  of  Naples,  Hellenistic  bas-relief. 

456.  Figure  in  the  air,  Museo  Borbonico,  VII,  xxxviii,  decorative  painting  from 

Pompeii,  I  century. 

457.  Dancer  in   Drapery,  about   to  fling  her  mantle.  Museum  of  Athens,  bas- 

relief  from  the  Theatre  of  Dionysos,  of  the  Hellenistic  period. 

458.  Dancer  flinging  her  veil.  Collection  Lecuyer,  P.  2,  terra-cotta  figurine,  Hel- 

lenistic period. 

459.  Dancer  flinging  her  veil,  Compte  rendu  de  la  Commission  imperiale  archeol- 

ogique de   Saint-Petersbourg,   1880,  terra-cotta  figure,   Hellenistic  period. 

460.  Asiatic  Dancer,  Panofka,  Terracotten — des  Koeniglichen  Museum  zu  Berlin,. 

terra-cotta,  Hellenistic. 

461.  Komastes  (?),  Museum  of  the  Louvre,  v.  R.  F.,  middle  of  V  century. 

462.  Reconstruction. 

463.  Dancer,  Heydemann,  4th  Hallisches  WinckelmannsprogramTn,  1879,  v.  R.  F., 

end  of  IV  or  III  century. 

464.  HiERODiTLE,    Compte   rendu   de    la   Commission   imperiale   archeologique    de 

Saint-Petersbourg,  1866,  III. 

465.  Grotesque  Dancer,  Frohner,  Musees  de  France,  XVIII,  bronze  vase,  Fallo- 

Roman,  of  the  worst  period. 

466.  Komastes,  Compte  rendu —   (see  fig.  459),  1868,  v.  R.  F.,  end  of  V  or  be- 

ginning of  IV  century. 

467.  Komastes,  la  Borde,  Collection  Lemberg,  I,  xxi,  v.  R.  F.,  end  of  IV  or  III 

century. 

468.  Dancer  in  Oriental  Costume,  Dumont  and  Chaplain,  Ceramique  de  la  Orece 

propre,  XXVII,  v.  R.  F.,  IV  century. 

469.  Dancer  in  Oriental  Costume,  Inghirami,  Va^i  Etruschi,  II,  clxxxiv,  v.  R. 

F.,   II  century. 

470.  Dancer  in  Asiatic  Costume,  Pottier  and  Reynach,  Necropole  de  Myrina, 

XXVIII,   3,   terra-cotta    figure,    III    or    II    century. 

471.  Reconstruction. 

472.  Dancer    in    Asiatic    Costume,    Hensey,    Figurines    antiques    du   Museo    da 

Louvre,  XXXVII,  terra-cotta  figurine,  Hellenistic  period. 

473.  Reconstruction. 

474.  Dancer  in  Asiatic  Costume,  Kekule,  Terracotten  von  Sicilien,  LVIII,  Hel- 

lenistic bas-relief. 


296  LIST    OF    FIGURES 

475.  Bacchante,  Chabouillet,  Cabinet  Fould,  XVIII,  v.  R.  F.,  Ill  century. 

476.  Amazons  (?),  Dancing  in  Oriental  Costume,  Monumenti  inediti  dell'Instituto, 

IV,  xliii,  V.  R.  F.,  IV  century. 

477.  DiONYSOs  (in  the  centre  of  an  Oriental  procession),  Monumenti  inediti  dell'In- 

stituto, I,  1,  V.  R.  F.,  IV  century. 

478.  Daxcers  at  each  side  of  the  God  (see  preceding  figure). 

479.  Person  of  Asiatic  appearance.  Antiques  du  Bosphore  Cimmerien,  LXX,  a, 

terra-cotta  figurine,  Hellenistic. 

480.  Scythe    (?),   Daxcixg,   Antiques   du  Bosphore   Cimmerien,    LXIV,   terra- 

cotta figurine  of  Hellenistic  period. 

481.  Dancing-Lesson,  cup  from  Museum  of  the  Louvre,  first  half  of  the  V  cen- 

tury. 

482.  Dancing-Lesson,  Conze  and  Beundorf,  Vorleye  Blaetter,  Series  C,  fig.  V, 

cup  with  red  figures,  first  half  of  V  century. 

483.  Dancing-Lesson,  Gerhard,  Antike  Bildwerke,  LXVI,  v.  R.  F. 

484.  Representation  constructed    from   figure   2  of  the   psyctere  in   the   Louvre 

(plate  1). 

485.  Komastai,  from  Corinthian  piece  in  the  Louvre,  v.  B.  R.,  beginning  of  VI 

century. 

486.  Satyr  facing  a  goat,  Museum  of  the  Louvre,  v.  R.  F.,  Ill  century. 

487.  Satyrs  pressing  grapes,  Panofka,  Terracotten — zu  Berlin,  XLIII,  bas-relief 

of   terra-cotta,   I    century. 

488.  Wine-Pressers,  Museo  Borbonico,  VIII,  xxxii,  from  a  bronze  harness,  Roman 

period. 

489.  Wine-Pressers,    Bulletino    della    Commissione    archeologica    Communale    di 

Roma,  1874,  II-IV,  bronze  seat,  Roman  period. 

490-491.  Hierodules  Dancing,  on  each  side  of  the  entrance-gate  of  the  Heroon  of 
Ghieul-Baschi  (Trysa),  decorative  bas-relief  of  the  end  of  V  century. 

492.  Hetaires  Dancing  (and  playing  the  castanets),  Compte  rendu  de  la  Com- 
mission imperiale  archeologique  de  Saint-Petersbourg,  1869,  P.  173,  v.  B. 
F.,  VI  century. 

493-494.  Bacchantes,  Stackelberg,  die  Graeber  der  Hellenen,  XXIV,  v.  R.  F., 
IV  century. 

495.  Dance  by  Two  Women,  Museo  Borbonico,  VII,  xxxiii,  decorative  painting 

from  Pompeii,  I  century. 

496.  Man  and  Woman  with  a  Komas,  dancing  vis-a-vis,  from  a  Corinthian  cup 

in  the  Louvre,  B.  F.,  beginning  of  VI  century. 

497.  Satyr  and  Menade,  Gerhard,  Auserlesene  Fa*e»6i/der,  CCLXXX VI,  v.  B.  F., 

VI  century. 

498.  Satyr  and  Menade,  Gerhard,  Auserlesene  Vasenbilder,  CCCXV,  v.  B.  F., 

VI  century. 

499.  Man  and  Woman  with  Komas,  Monumenti  dell'Instituto,  XXXI,  v.  R.  F., 

end  of  IV  century. 

500.  Young  Man  and  Young  Woman,  arms  entwined,  Panofka,  Musee  Blacas, 

XXX,  V.  R.  F.,  end  of  IV  or  III  century. 

501.  Pan    and   Young    Girl    (the    Nymph    Echo?),   Panofka,   Musee    Blacas, 

XXXIII,  a  yellow  figure,  end  of  V  century. 


LIST    OF    FIGURES  297 

502.  Step  for  Three  Womek,  Millingen,  Collection  Coghill,  I,  v.  R.  F.,  IV  cen- 

tury. 

503.  Representation,  on  horizontal  plane  of  the  preceding. 

504-505.  Satyrs  and  Menades,  Louvre   Museum,  Amphore   attributed  to   Nikos- 
thenes,  latter  part  of  VI  century. 

506.  Menade  Betweek  Two  Satyrs,  Corinthian  vase  in  the  Louvre,  B.  F.,  begin- 

ning of  VI  century. 

507.  Details  taken  from  a  bas-relief  in  the  Museum  of  Athens  (Hermes  and  the 

Kharites),  VI  century. 

508.  Three  Nymphs  (advancing  before  Pan),  Bulletine  de  Correspondance  hel- 

lenique,  1881,  PI.  7,  votive  bas-relief,  IV  century. 

509.  (Dionysos    following   the   three).   Dancers,   Louvre   Museum,   bas-relief   in 

"archaisant"  style,  I  century. 

510.  Old    Man    and    Three    Women,    Stackelberg,    die    Graeber    der   Hellenen, 

XXIII,  V.  R.  F.,  IV  century. 

511.  Hermes  and  Three  Nymphs,  Furtwaengler,  Collection  Sabouroff,  I,  xxviii, 

votive  bas-relief  of  marble,  IV  century. 

512.  Hermes  and  Three  Nymphs,  Baumeister,  Denkmaeler  des  Klassischen  Alter- 

thums,  p.  1032,  votive  bas-relief,  IV  or  III  century. 

513.  Detail  taken   from  an  "archaisant"  called  the   Kharos  of  Socrates,  I  cen- 

tury. 

514.  Three  Kharites,  Louvre  Museum,  from  an  "archaisant"  marble,  called  "the 

altar  of  the  twelve  Gods,"  I  century. 

515.  Chorus,  Yahrbuch  des  K.  deulschen  Archaeologischen  Instituts,  1887,  Vol.  II, 

vase  in  geometric  style,  VIII  or  VII  century. 

516.  Funeral  Chorus,  Monumenti  inediti  dell'Instituto,   IX,   xxxix,  vase    from 

Dipylon,  geometric  style,  VIII  or  VII  century. 

517.  Farandole    (conducted  by  Theseus),  Monumenti  inediti  dell'Instituto,  the 

French  vase,  B.  F.,  early  part  of  VI  century. 

518.  Farandole,  Museo  Borbonico,  VIII,  Iviii,  v.  R.  F.,  end  of  IV  or  III  century. 

519.  Farandole,  Frohner,   Musees  de  France,  XIII,  v.  B.   F.,  VI  century. 

520.  Chorus,  Inghirami,  Vasi  Etruschi,  II,  ccliv,  v.  R.  F.,  V  century. 

521.  Satyr  and  Menade,  Louvre  Museum,  v.  B.  F.,  VI  century, 

522.  Two  Women,  taking  part  in  a  chorus.  Monuments  grecs,  published  by  the 

Association  for  the  Encouragement  of  the  Study  of  the  Greeks,  in  France, 
Nos.  14-16,  fragment  of  an  archaic  vase  decorated  with  bas-reliefs,  VI 
century. 

523.  Satyrs  and  Menade,  Bulletin  de  Correspondence  hellenique,  1893,  v.  B.  F., 

VI  century. 

524.  Komasti,  Bulletin  de  Correspondance  hellenique,  1893,  v.  B.  F.,  VI  century. 

525.  Chorus,  Furtv/aengler,  Collection  Sabourof,  I,  li,  v.  B.  F.,  VI  century. 

526.  Chorus  of  Men,   Beule,  Aeropole,  bas-relief  belonging  to  a  pedestal,   IV 

century. 

527.  Comic   Chorus,   Bulletino    archeologico   napolitano,   year   V,   v.    B.    F.,   VI 

century. 

528.  Comic  Chorus,  Journal  of  Hellenic  Studies,  II,  xiv,  v.  B.  F.,  VI  century. 

529.  Chorus     (?),    Frieze    of    a    choragic    monument    of    Lyricratus,    Athens, 

decorative  bas-relief,  IV  century. 


S98  lAST    OF    FIGURES 

530.  Tratta,   Raoul    Rochette,   Peintures   antiques   inedites,   XV,   painting   on   a 

Greek  tomb  at  Ruvo,  III  century. 

531.  Pyhrhic  Dancer  and  Aulete,  Louvre  Museum,  bowl    of  V  century,  red 

figures. 

532.  Woman  Pyrrhic  Dancer,  Stackelberg,  die  Oraeber  der  Ilellennen,  XXII, 

V.  R.  F.,  V  century. 

533.  Pyrrhic  Dancer,  Lenormant  and  de  Witte,  Elite  ceramographique,  II,  Ixxx, 

V.  R.  F.,  latter  part  of  V  century. 

534.  Targeteer,  Stackelberg,  die  Graeber  der  Hellenen,  XXXVIII,  v.  R.  F. 

535.  Warrior  on   the   Defensive,  Millengen    (Ed.    Raynach),   Painted   vase,  V, 

V.  R.  F.,  IV  century. 

536.  Warrior  on  the  Defensive,  Monuments  grecs  (see  fig.  522),  No.  4,  v.  R.  F., 

beginning  of  IV  century. 

537.  Warrior  on  the  Offensive,  de  Lyunes,  Vases  peints,  I,  v.  B.  F.,  VI  century. 

538.  Pyrrhic  Dancers  (?),  Visconti,  Museo  Pio  Clementino,  IV,  ix,  marble  bas- 

relief,  Hellenistic  period. 

539.  Rank  of  Warriors  advancing  with  the  same  step,  Monumenti  inediti  dell'In- 

stituto,  X,  cv,  bas-relief  from  the  monument  of  the  Nereides,  end  of  the  V 
century.       / 

540.  Pyhrhic  DajI^^cers,  Beule,  Acropole,  bas-relief  belonging  to  a  pedestal,  IV 

century. 
541-542.  Mourners,  Monumenti  inediti  dell'Instituto,  IX,  xxxix,  vase  from  Dipylon, 
geometrical  style,  VIII  or  VII  century. 

543.  Mourners,  Corinthian   Hydra,  Museum  of  the  Louvre,  v.  B.   F.,  beginning 

of  VI  century. 

544.  Exposition  of  the  Dead,  painted  plaque  from  the  Louvre  Museum,  black 

figure  showing  the  white  ground,  work  in  parts  of  the  figure. 
545-546.    Mourners,  Monumenti  inedVA  dell'Instituto,  VIII,  v,  v.  R.  F.,  first  half 
of  the  V  century. 

547.  Funeral     Lamentations,     Beundorf,     Griechische     und    Sicilische     Vasen, 

XXIII,  funeral  lecythe,  polychrome,  IV  century. 

548.  Funeral  Lamentation,  Beundorf,  Griechische  und  Sicilische  Vasen,  XVII, 

painting  in  red  outline  on  a  white  ground,  funeral  lecythe,  IV  century. 

549.  Mourners,  Rayet,  Monuments  de  I'Art  antique,  LXXV,  v.  B.  F.,  VI  century. 

550.  Visit  to  a  Stele  (see  fig.  548),  lecythe,  IV  century. 

551.  Funeral  Gestures  of  Lamentation,  Monumenti  inediti  dell'Instituto,  VIII, 

iv,  V.  B.  F.,  VI  century 

552.  Funeral  Gestures  of  Lamentation,  loutrophore  from  the  Louvre  Museum, 

V.  R.  F.,  early  part  of  V  century. 

553.  Mourners,  Monumenti  inediti  dell'Instituto,  III,  Ix,  v.   B.   F.,  VI  century. 

554.  Person  making  the  funeral  gestures,  Inghirami,  Vasi  Etruschi,  IV,  ccclxxi, 

V.  R.  F.,  end  of  IV  or  III  century. 

555.  Syren,   Pottier  and    Reynach,  Necropole   de   Myrina,   XXVII,   terra-cotta 

figurine.  III  or  II  century. 

556.  KuBisTETERiA,  Inghirami,  Va^e  Etruschi,  I,  Ixxxvii,  v.  R.  F.,  Ill  century. 

557.  KuBisTETERiA,  Baumcistcr,  Denkmaeler  des  klassischen  Altherthums,  p.  585, 

V.  R.  F.,  II  century. 


LIST    OF    FIGURES  29& 

558.  KuBisTETERE,  Muscum  of  Medals,  small  bronze  piece,  Hellenistic  or  Roman 

period. 

559.  Acrobatic  Dancer,  Louvre,  terra-cotta  figurine,  Hellenistic. 

560.  Acrobatic  Dancer,  Collection  Lecuyer,  O,  terra-cotta  figurine,   IV  or  III 

century. 

561.  TiGHT-RoPE    Dancer,    Museo    Borbonico,    VII,    decorative    painting    from 

Pompeii,  I   century. 

562.  Wrestling  Game,  Monumenti  inediti  delV Instil uto,  I,  v.  B.  F.,  VI  century. 

563.  Wrestling  Game,  Journal  of  Hellenic  Studies,  1890,  XII,  v.  R.  F.,  V  cen- 

tury. 

564.  Two  Satyrs  at  Play,  Millingen,  Collection  Coghill,  v.  R.  F.,  end  of  V  cen- 

tury or  IV  century. 

565.  Two  Young  Girls  at  Play,  Louvre  Museum,  terra-cotta  figurine,  Tanagra, 

IV  century. 

566.  Nike  Running  (Nike  of  Delos),  Collignon,  Ilistcire  de  la  Sculpture  grecque, 

I,  fig.   58,  marble,  VI   century. 

567.  Nike  of  Paeonios  (indication  in  arms  and  drapery  that  the  statue  was  taken 

from  the  temple  of  Nereides),  marble  statue  of  the  V  century. 

568.  Dancers  Leaping,  Stackelberg,  die  Graeber  der  Ilellenen,  XXIII,  v.  R.  F., 

IV  century. 

569.  Nike   Dancing,   figure   suspended,   Furtwaengler,   Collection  Sabourof,   II, 

cxlv,  small  terra-cotta  plaque,  gilded,  Hellenistic  period. 

570.  Eros   Dancing,   figure   suspended,   Furtwaengler,   Collection  Sabourof,   II, 

cxxiv,  figurine  of  terra-cotta,  Tanagra,  IV  century. 

571.  Atys  Dancing,  Yahrbuch  des  K.  deutschen  Archaeologischen  Institute,  1889, 

Beiblatt,  90,  figurine  of  terra-cotta.  III  or  II  century. 

572.  Dance  of  the  Curetes  (Clashers),  around  the  infant  Zeus,  Annali  dell'In- 

stituto    de    correspondenza   archwologica,    1840,    bas-relief   of    terra-cotta, 
I  century. 

573.  SiLENE,  Museum  of  the  Louvre,  Hellenistic  bas-relief. 

574.  Menade,   Gazette   archeologique,    1879,   v.    R.    F.,   end   of   IV   or    III    cen- 

tury. 

575.  Menade,  tearing  a  kid  in  pieces  (said  to  be  the  work  of  Scopas),  bas-relief 

from  the  Capitoline  Museum,  Hellenistic  period. 

576.  DiONYsiAN  Altar  and  Bacchantes,  Museo  Borbonico,  XII,  v.  R.  F.,  latter 

part  of  V  century. 

577.  Menade,  Conze   and   Beundorf,   Vorlege  Blastter,  1891,  VII,  v.   R.   F.,  V 

century. 

578.  DiONYsos,  tearing  a  kid  to  pieces.  Satyrs  and  Menades,  Panofka,  Musee 

Blacas,  XV,  v.  R.  F.,  V  century. 

579.  Satyr,  Museum  of  Medals,  Cameo,  Roman  period. 

580.  Priestess,  de  Witte,  Hotel  Lambert,  XXII,  v.  R.  F.,  V  century. 

581.  Dance  of  Sacrifice,  Stackelberg,  die  Graeber  der  Hellenen,  XXXV,  v.  R.  F., 

end  of  V  century. 

582-583.    Hierodules  (see  figs.  490,  491),  decorative  bas-relief,  end  of  V  century. 

584-585.    Hierodules,  Yahrbuch  des  K.  (see  fig.  511),  1893,  pages  76  and  77,  mar- 
ble bas-relief,  IV  century. 


300  I.IST    OF    FIGURES 

586.  HiERODULE,   Dumont   and    Chaplain,   Ceramique   de   la   Grece  propre,   X,  i, 

terra-cotta  figurine,  Hellenistic  period. 

587.  HiERODULE,  Louvre  Museum,  terra-cotta  figurine,  Hellenistic. 

588.  HiERODULE,  Compte  rendu  de  la  Commission  imperiale  archeologique  de  Saint' 

Petershourg,  1866,  small  gold  plaque,  an  ornament  on  tlie  costume  of  a 
priestess  of  Demeter,  Hellenistic  period. 

589-590.  HiERODULES,  Clarac,  Musee  de  Sculpture,  pi.  167-168,  bas-reliefs  on  the 
base  of  a  candelabrum,  Hellenistic  period. 

591.  HiERODULES  (the  statue  of  Athena  between  the  two),  Muller-Wieseler,  Denk- 
maeler,  Vol.  II,  chap,  xx,  bas-relief,  terra-cotta,  I  century. 

592-593.  HiERODULES,  Winckelmann,  Monumenti  antichi  inediti,  XLVII,  xiix,  bas- 
reliefs  on  the  base  of  a  candelabrum,  Hellenistic  period. 

594.  Procession,  from  the  temple  of  the  Harpies,  bas-relief,  end  of  VI  century. 

595.  Procession  of  Nymphs,  Museum  of  the  Louvre,  bas-relief  of  Thasos,  begin- 

ning of  the  V  century. 

596.  Procession  or  Young  Girls,  from  the  Parthenon  frieze,  bas-relief,  V  century. 

596.  (Cont'd),  Procession  of  Young  Girls,  Parthenon  frieze,  bas-relief,  V  century. 

597.  Hermes  and  Six  Women  (who  play  on  the  lyre  and  the  contents),  Gerhard, 

Auserlesene   Vasenbilder,  I,  xxi,  v.  B.  F.,  VI  century. 

598.  KoMASTAi,   Corinthian  cup,   from   the  Louvre,  v.   B.    F.,  beginning  of   the 

VI   century. 

599.  KoMASTES,  Monumenti  inediti  dell'Instituto,  X,  lii,  v.   B.   F.,  beginning  of 

the  VI  century. 

600.  KoMASTEs,  Gerhard,  Atiserlesene  Vasenbilder,  CLXXXVIII,  v.   R.  F.,  first 

half  of  V  century. 


ALPHABETICAL  REPERTORY  OF  THE 

TERMS  OF  THE  DANCE  AND  OF 

TECHNICAL  WORDS 

[The  numbers  refer  to  the  paragraphs.] 

I  signifies  the  First  Position  of  the  legs. 
II  signifies  the  Second  Position  of  the  legs. 

III  signifies  the  Third  Position  of  the  legs. 

IV  signifies  the  Fourth  Position  of  the  legs. 
V  signifies  the  Fifth  Position  of  the  legs. 


Alternating  movements   (275) 

Analytic  series  (291) 

Arabesque   (170) 

Arms   (divisions  of  the)    (197) 

Arms  held  (113) 

Arms   (positions  of  the)    (112) 

Assemble  (243) 

Attitude   (169) 

(dances  of)    (326) 

B 

Backward  bending  body  (150) 

Balance  steps   (233) 

Bar   (325) 

Battement   held    (185) 

Beating  steps    (battus)    (247) 

Bending  (177) 

C 

Cabrioles   (247) 

Chains  of  movement   (273) 

Character  dances   (327) 

Characteristic  moments  (283) 

Chasse    forward,    Chasse    to    the    side 

(219) 
Choregraphy    (327) 
Circle  of  the  leg  held  (193) 
Circle  of  the  leg  outward,  inward  (191) 
Circles  on  the  ground  (192) 
Circles  with  the  leg  (191) 
Contrasting  positions  (115) 
Contrasting  positions  of  the  arm  (115) 
Coupe  (220) 

Coupe  over,  Coup6  under  (220) 
Cuts   (Three)    (250) 
Cuts  (Four)   251) 
Cuts  (Five,  Six,  Seven,  Eight)   (203) 


Dances  of  character  (327) 
Decorative  contrasts  (333) 
Determining  moments  of  the  movement 
(313) 

E 

Entrechat  (248) 
Equilibrium  (326) 
Eurhythmy  (372,  395) 
Exercises  at  the  bar  (325,  326) 
Exercises  of  the  bar    (325,  326) 
Expressive  movements   (55) 
Extreme  moments   (284) 


Figuration  choregraphy  (327) 

Figures  in  series   (289) 

Five,  or  V,  abbreviation  of  Fifth  Posi- 
tion (219) 

Fouette  (221) 

Fouette  forward,  Fouette  backward 
(221) 

Fouette  in  turning  (256) 

Fundamental  positions  of  the  legs  (89) 

Fundamental  positions  on  the  soles  of 
the  feet   (89) 

Fourth  crossed  (95) 

Fourth  open  (95) 

Fourth,  or  IV,  abbreviation  for  Fourth 
Position 


Gradation  of  exercises   (326) 
Grand  battement   (186) 
Grand  circle  of  the  leg  (194) 


301 


302 


ALPHABETICAL    REPERTORY 


H 

Half-toe  (102) 
Heels  of  shoes    (213) 
Horizontal    projection    of    the    move- 
ments  (243) 


Intermediate  moments  (313) 


Jete  (222) 

Jete  ballonne  (272) 

Jete  battu   (272) 

Jete  crossed   (321) 

Jete  in  turning  (256) 

Jete  over  {22^) 

Jete  under  (222) 

Jete  with  circles  of  the  legs  (272) 


K 


Kubistetere  (374) 


Leap    (its  mechanism  and   form)    (73- 

74) 
Leaving  II  on  the  toes  (237) 
Limit  positions   (175,  200,  313) 
Line  of  equilibrium  (298) 

M 

Marking  the  steps  (205) 

Mechanical  movements  (54) 

Mechanism  of  the  run   (69) 

Mechanism  of  the  walk   (62) 

Moments  essential  (284) 

Moments  of  opposition  (233,  234,  277) 

Movements  (282) 

Movements  in  opposition   (277) 

Movements   on  the   ground   and  in  the 

air  (209) 
Mutation  of  the  feet   (245) 


Oppositions  of  the  dance  (167) 
Oppositions  of  the  walk  (63) 
Oppositions  simple,  Oppositions  double 

(277) 
Orchestric  movements  (57,  86) 


Period  of  suspension  (69-72) 
Pirouettes    (258) 
Pirouettes  and  strikes    (263) 
Pirouettes    in    attitude.    Pirouettes    in 
Arabesque  (263) 


Pirouettes  in  II  (263) 
Pirouettes  on  the  instep   (263) 
Pirouettes  outward.   Pirouettes  inward 

(259) 
Pirouettes  with  circle  of  the  leg  (263) 
Positions  of  the  arms  (102,  112) 
Positions  of  the  body  (150) 
Positions  of  the  feet  on  the  horizontal 

plane   (90) 
Positions  of  the  head  (158) 
Positions  on  the  half-toe   (102) 
Preparation   (237-250) 
Preparation  for  the  pirouette  (260) 
Preparatory  exercises  (176) 
Principle    II,   abbreviation    for    Second 

Principal  Position 
Principle  IV,  abbreviation   for  Fourth 

Principal  Position 


R 

Repeated  movements    (274) 
Ring   (353) 

Rising  on  the  toes  (238) 
Rule  of  the  same  step   (261) 
Running  steps  on  the  toes  (242) 


Second,  or  II,  abbreviation  for  Second 

Position 
Secondary  moments   (285) 
Separating   (179) 
Separating  in  II  or  in  IV  (179) 
Separating  on  the  ground  (179) 
Steps   (206) 
Steps  for  two  (327) 
Steps  for  three   (327) 
Steps  for  four  (327) 
Steps  upon  the  toes   (236-239) 
Striking  the  ground  (184) 
Superposition  of  movements  (272) 
Symmetrical  positions   (114) 
Symmetry  (395) 


Tempos  and  steps  on  the  toes  (236) 
Tour  in  the  air  (264) 
Turning  by  stamping  (267,  268,  3iC) 
Turning  movements  (256) 


Variations    (326) 

Vertical  axis  of  equilibrium   (298) 

W 


Whirling  steps  (257) 


TABLE    OF    CONTENTS 

PAGE 

Abridged  Index    ........••••    xxiii 

SCULPTURES  AND  PAINTINGS 

'Sources  .........••••         3 

Painted  Vases      .....-..••••         ^ 

High  and  Low   Reliefs       ..........        11 

Interpretation  of  the  Figures  ...  •  •  •  •  •  •  .16 

Traditional   Gestures 23 

MOVEMENTS  IN  GENERAL 

The  Walk 35 

The  Run 4,3 

♦ 

TECHNIQUE  OF  THE  DANCE 

/. — The  Positions 

Legs ^^ 

Arms    ......••••••••       ^4, 

Torso    .....-••••••••"* 

Head    . 87 

II. — Preparatory  Exercises  ^^ 

III. — Tempos  and  Steps 

Postures  of  the  Feet  ..........     113 

Description  of  Tempos  and  Steps       .  .  .  .  .  .  .  .117 

RECONSTRUCTION  OF  THE  TEMPOS  AND  STEPS 

From  the  antique  'paintings  and  statues 

Coordination  of  Movements        .........       151 

Fixation  of  Movements  from  Vases 157 

Reconstruction  of  Tempos  .  .  .         •         •         •         •         •         .160 

Reconstruction  of  Steps     .         .         .         .         •         •         •         •         •         ,164 

303 


304  TABLE    OF    CONTENTS 

STUDIES  OF  THE   DANCERS 
CHOREGRAPHY 

PAGE 

Steps  for  Two      ............      203 

Steps  for  Three  ...........      210 

Three  Dancers  akd  a  Leader     .  .  .  .  .  .  .  .  .211 

Chorus  of  the  Dance  ..........      216 

Funeral  Dances  ...........      232 

Rhythmic    Games        ...........      238 

THE  DANCERS 

yS^ODs   Who    Dance 247 

^Dances  in  Honor  of  the  Gods  .........     258 

Private  Dances   ,...........*    270 

CONCLUSION 

List  of  Figures  ...........     285 

Alphabetical  Repertory      . 301 


14  DA^ 


Tr*  v 


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